=e aa SRS el TS, eee 
Seating eis 
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stato 


es 


“UESSTAE ie 
ieee ees cate 


SEE ERE Stn 


; i aS Babe eis 
StI pst ee srt Pree 7 et SSuE Gents 


prssreeseeier 


str 56 


i ON FREE VIEW 
oe AMERICAN ART GALLERIES 


eee 


“COLLECTED BY THE LATE 


as. ABNER HARPER 


; _ EXECUTORS’ UNRESTRICTED PUBLIC SALE 


so AT: THE AMERICAN ART GALLERIES 
| ON THE AFTERNOONS OF TUESDAY, WEDNESDAY AND 
THURSDAY, APRIL 18TH, 19TH AND 20TH 
AND EVENING OF APRIL 19TH 
AND 


AT MENDELSSOHN HALL 
On THE EVENING OF THURSDAY, APRIL 20TH 


1 te eS . 
SI Seah iy See a 


-— CATALOGUE 
_ ART AND LITERARY 
PROPERTY 


COLLECTED BY THE LATE 


J. ABNER HARPER 


TO BE SOLD 


AT UNRESTRICTED PUBLIC SALE 


BY ORDER OF HOWARD THORNTON AND JOHN HARPER, ExEcuToRs 


ON THE DATES HEREIN STATED 


THE SALE WILL BE CONDUCTED BY Mr. Tuomas E. Kirpy, oF 
THE AMERICAN ART ASSOCIATION, Manacers 
NEW YORK 
1911 


i 
RS 


f. ye 


Press of Tae Lent & Garr Compan 
137-189 East 25th Street, New York. 


ee 


CONDITIONS OF SALE 


1. The highest Bidder to be the Buyer, and if any dispute 
arise between two or more Bidders, the Lot so in dispute shall be 
immediately put up again and re-sold. 


2. The Auctioneer reserves the right to reject any bid which 
is merely a nominal or fractional advance, and therefore, in his 
judgment, likely to affect the Sale injuriously. 


3. The Purchasers to give their names and addresses, and to 
pay down a cash deposit, or the whole of the Purchase-money, if 
required, in default of which the Lot or Lots so purchased to be 
immediately put up again and re-sold. 


4. The Lots to be taken away at the Buyer’s Expense and Risk 
within twenty-four hours from the conclusion of the Sale, unless 
otherwise specified by the Auctioneer or Managers previous to or 
at the time of Sale, and the remainder of the Purchase-money 
to be absolutely paid, or otherwise settled for to the satisfaction 
of the Auctioneer, on or before delivery; in default of which the 
undersigned will not hold themselves responsible if the Lots be 
lost, stolen, damaged, or destroyed, but they will be left at the 
sole risk of the purchaser. 


_ 5. While the undersigned will not hold themselves responsible 
for the correctness of the description, genuineness, or authen- 
ticity of, or any fault or defect in, any Lot, and make no War- 
ranty whatever, they will, upon receiving previous to date of 
Sale trustworthy expert opinion in writing that any Painting 
or other Work of Art is not what it is represented to be, use 
every effort on their part to furnish proof to the contrary; fail- 
ing in which, the object or objects in question will be sold sub- 
ject to the declaration of the aforesaid expert, he being liable 
to the Owner or Owners thereof for damage or injury occasioned 
thereby. 

6. To prevent inaccuracy in delivery, and inconvenience in the 
settlement of the Purchases, no Lot can, on any account, be re- 
moved during the Sale. 

7. Upon failure to comply with the above conditions, the money 
deposited in part payment shall be forfeited; all Lots uncleared 
within one day from conclusion of Sale (unless otherwise specified 
as above) shall be re-sold by public or private sale, without further 
notice, and the deficiency (if any) attending such re-sale shall be 
made good by the defaulter at this Sale, together with all charges 
attending the same. This Condition is without prejudice to the 
right of the Auctioneer to enforce the contract made at this Sale, 
without such re-sale, if he thinks fit. 

8. The Undersigned are in no manner connected with the 
business of the cartage or packing and shipping of purchases, 


and although they will afford to purchasers every facility for em- 


ploying careful carriers and packers, they will not hold themselves 
responsible for the acts and charges of the parties engaged for 
such services. 

Tue AMERICAN ART ASSOCIATION, Manacers. 


THOMAS E. KIRBY, AvctTioneer. 


ee Se ey eee ee! Deed Fn ANTE Oe eae 


OIL PAINTINGS _ 


} 


a EVENING’S SALE 


THURSDAY, APRIL 207TH, 1911 _ 


es ‘ : a A 


a - AT MENDELSSOHN HALL 


FORTIETH STREET, EAST OF BROADWAY, NEW YORK 


~ 


BEGINNING AT 8.15 O’CLOCK se 


94h iar AOE a eee 


: No. 1 ; fi 0 P 
; is 


UNKNOWN 


_ ITALIAN 


STUDY FOR A MURAL PAINTING 


Height, 7%, inches; length, 1114 eat 
PG 


DIsPLaYED against a reddish chocolate rae 


are two decorative masses. The left-hand one con- 
sists of a fountain, the semi-oval basin of which sur- 
mounts a slender shaft that is supported on three 
spreading feet. ‘Two birds are swooping down 
toward the spray of water. At the right is a small 
rose-tree, on the twisted branches of which a cupid 
stands, drawing a bough toward him in an effort to 
pluck the blossom. 


No. 2 


ATTRIBUTED TO 
SALVATOR ROSA 


ITALIAN (1615-1673) 


HEAD OF A WARRIOR 
Height, 834, inches; width, 7, inches 


Panel 


FAcinG to the left, whence it catches the light, is the 


profile of a man, distinguished by a hump on the 
bridge of his nose, a brown moustache, bunched under 
the nose in shadow, and a chin beard. ‘The head is 
covered with a dark steel helmet that rises to a hooked 
point on the crown, and has a curling embellishment | 
at the sides. A gorget protects the neck, while the top 
of the bust is encased in a breastplate, decorated on 
the shoulder with a round boss, representing an an- 
imal’s face. 


ae x) 
U 


7 No. 3 : ry ¢ 
J. M. W. TURNER, R. A. 


| 
BRITISH (1775-1851) 


THE RIVER WYE 


NO. 48 IN THE “LIBER STUDIORUM” Seb pr prolt 


Height, 7 inches; length, 10 inches 4 


Pencil and Sepia Wea ie 
THE river extends back from the right of the fore- 
ground, where a nude man stands in the water to his 
waist, watched by another, seated on the bank. The 
opposite bank presents a steep bluff which is crowned 
with the ruins of an abbey. In the meadow at the 
back of the seated man are grouped three cows and 
a horse. The distance at the left reveals another 
reach of the river, passing beneath a hilly bank. 
Collection of Rev. Sebastian Bowden, S. J. 

Collection of J. D. Ichenhauser, New York, 1903. 


No. 4 
J. M. W. TURNER, R. A. 


BRITISH (1775-1851) 


ST. CATHRYNE’S HILL, NEAR 


GUILDFORD 
NO. 83 OF THE “LIBER STUDIORUM” 


Height, 7 inches; length, 10 inches 


THE | ruins of a ee a with windows 
naked to the sky, surmounts a round-topped emi- 
nence in the rear of the scene. Some sheep are feed- 
ing on the slope. From the foot of the hill a road, 
bordered on the left by a bank of trees, leads diagon- 
ally to the foreground. Four cows are approaching, 
followed by a man and a boy. On the right of the 
foreground a man, carrying two pitchers, stands near 
another who has his hand on an open gate. Three 
cart-horses have passed through it into a farmyard, 
which is bounded by a barn and trees. 


Collection of Rev. Sebastian Bowden, S. J. 
Collection of J. D. Ichenhauser, New York, 1903. 


No. 5 | 
CHARLES BARGUE 


FRENCH (1856-1883) 


THE MODEL’S CRITICISM 


Height, 9 sichéss width, 614 inches 
ery 1% Vip Mn 
Pencil Drawing 
FS WAe 


Tus is a study for the figure of a Radel in n Bargue’ S 


_ picture, “The Artist and His Model,” which belongs 


in the W. H. Vanderbilt Collection, now hung in the 
Metropolitan Museum. The woman’s back is toward 
the spectator, nude to the waist, below which a 
drapery is drawn around the figure and held in front. 
The face is seen in profile perdu, as the woman stoops 
forward to examine the picture on the easel for which 
she has been posing. 


No. 6 


BELLA VON SPANZI 


HUNGARIAN SHEPHERDESS AND 
SHEEP 


Height, 8%, inches; length, 101% inches 


Pe thar Lthud 


As THE shepherdess stands in thé foreground, facing 
toward the right, the light illuminates the back of a 
white shawl that is draped over her head and crossed 
upon the bosom. Below a slaty-colored apron shows 
the edge of a skirt, striped with grayish-slate and 
blue. The sheep are grouped about her in the pas- 
ture that terminates in a thicket of foliage, in front 
of which, at the right, some oaks, rooted close to- 
gether, radiate their trunks. 

Signed at the lower right, B. von Spanzi. 


Purchased from L. Crist Delmonico, New York, 1892. 


No. 7 
UNKNOWN 
: BUST PORTRAIT OF A GENTLEMAN 


Height, 1034 inches; width, 81% .inches © (e see): 


THE bust is shown nearly in profile to MO right, the 


head being turned to gaze at the spectator. It is 


covered with a purplish-red cap, from under which 


the soft, iron-gray hair hangs in a wisp on the fore- 
head and clusters over the ears. ‘The eyes are a 
warm brown beneath almost black eyebrows, and the 
complexion glows with warmth. The collar, open 
under the chin, stands up above the gray fur collar 
of a brown coat. 


No. 8 ) ; 


ry ATTRIBUTED TO 
GEORGE MORLAND 


BRITISH (1763-1804) 


LANDSCAPE WITH FIGURES 


Height, 91, inches; ues oe Where). 


Panel 


On each side of the foreground slopes a bank of 


creamy buff, gray and warm green rocks. The one 
at the right is feathered near the base with red and 
gray-green growth, and crowned with tawny green 
bushes. In the central hollow are three seated fig- 
ures: a man in red vest with his back to us, a woman 
facing him, in a black hat and dull blue gown, and a 
little girl at the left of them. The distance shows a 
hill, sloping down from the right to a suggestion of 
water. Fleecy clouds of salmon-brown hue, with 
lavender lining, float over the horizon, above which 
the sky is pale blue-gray. 

Signed at the lower right, G. M. 

Purchased from T. J. Blakeslee, New York, 1894. 


No. 9 3 
UNKNOWN 
BUST PORTRAIT OF A GENTLEMAN 


re 
? 
Height, 1334 inches; width, 111% inches i V/ Bo 


WuHiteE the bust is full to the front, the face is turned 
a little to the right, with the eyes fixed on the specta- 


=f 


tor. Brown hair, curling over the shoulders, frames 
a rather drawn face, with pinkish, gray-shadowed 
cheeks, a faint upturned moustache and a double 
chin. Below is the V-shaped opening of a white 
turnover collar. The coat of yellowish-brown is fas- 
tened tight across the chest with a dark jewel, below 
which a portion of the shirt is exposed. 


BS Tce TITAN Nt at 2 & * 
f ts d AK ete i 

Mester ticncr ne reattach ck 

ma vn 


No. 10 


ATTRIBUTED TO 
PAOLO VERONESE (CALIARI) 


ITALIAN (1528-1588) 


0" 


HEAD AND, BUS ve A WOMAN 
Gar OMA Cie 
THE head of a woman, with rosy complexion and 


large liquid eyes, is shown three-quarters full, in the 

' direction of the left. “The straw-color hair, brown in 
the shadows, is dressed in plaits and confined with a 
band. <A pearl drop hangs from the ear. A tur- 
quoise mantle is draped behind the neck and bunched 
over the right shoulder, which is elevated far above 
the other one. The latter is bare, crossed by a strap, ~ 
which supports the chemise that falls low, revealing 
the bosoms. Beneath them appears the upper part 
of an old-rose corset, bordered with yellow gold. 
Purchased from T. J. Blakeslee, New York, .1895. 


= 


i 5 a et 


i RE ST 


ATES rea 


eats 


pe ae 


: 
= SE, ‘ Raa A, ASM 
6 OR e aa 


5 \ 
G. F. PAPPERITZ 


GERMAN ( 1813-1861) 


HEAD AND BUST OF A BOY 


Height, 114, inches; width, 81, inches 


Millboard 
tan RY 
TILTED a little to the right, hee is crowned with 
loosely straggling golden-brown hair that curls over 
the forehead and hangs full at the sides. The brown 
eyes gaze at the spectator with a dreamy expression 
and the lips are parted. ‘The slim neck rises above 


the flat collar of a lapis-lazuli jacket, fastened with 


three buttons. 


Signed at the lower left, G. Paprrrirz. 


- 


No. 12 


OLD MASTER 


SEVENTEENTH CENTURY PORTRAIT 
OF A MAN 


Height, 11% epee pidth, 934, inches 
SE AIS 


THE face is turned toward the spectator, while the 
bust is three-quarters to the right. Closely cropped 
blond hair, growing to a point on the forehead, thinly 
covers the head. The eyebrows are a faint ashy 
brown over gray eyes with pinkish lids. They are 
turned to the left. The soft and scanty moustache 
droops, while a downy growth appears below the un- 
der lip and tips the pointed chin. The latter is sur- 
rounded by a high white ruff, surmounting the black 
velvet collar of a scarlet robe which has two black 
bands down the front. 


DO 2a ee ee eS, 


No. 13 


HIPPOLYTE CAMILLE DELPY 


FRENCH (CONTEMPORARY ) 


LANDSCAPE WITH RIVER 
a. 


Height, 1214, inches; length, 1834 inches 
Panel HPO Gece Nepey 
THE water which occupies the greater part of the 
foreground, reflects the rose and yellow of the even- 
ing sky and the greens of a row of poplars that rise 
above a strip of foliage, terminating the view of the 
opposite bank. This juts into the water in a point, 
off which lies a boat with a single occupant. The 
foreground at the left is closed in by a bit of the 
nearer bank, where a tawny brown willow stands in 
advance of a mass of greenery. 
Signed at the lower left, H. C. Drury. 


No. 14 


ATTRIBUTED TO 
J. L. A. T. GERICAULT 


FRENCH Oe Tes f. Ch pee 


CHiSAR’S ENTRY INTO ROME } 
ea 13 inches; length, 1644, inches 


Tur eae s chariot appears at the right of the 
scene, passing a temple-front which fills in the 
background at this point. Arrayed in a crimson 
mantle, Cesar stands holding a laurel spray, while 
a wreath encircles his bald head. The chariot, em- 
bossed with the legend, “Macedonia Capta,” is 
drawn by four white horses abreast, the white reins 
of the nearest one being held by an attendant whose 
bare form is partially covered by a blue drapery. 
Other attendants march ahead of the horses, carry- 
ing bowls, containing goblets, and in the rear of the 
chariot follow spearmen and bearers of the insignia 
“S. P. Q. R.” Crowds of spectators line the back 
of the scene, over their heads appearing various dis- 
tant buildings. 

Purchased from T. J. Blakeslee, New York, 1891. 


No. 15 


DUTCH SCHOOL 
ITALIAN LANDSCAPE 


Height, 1314 inches; length, Ave uichas ; 

POD Malte 
Two MEN in classical drapertes are approaching 
along a road which extends back from the left of 
the foreground. At the right of the figures a tree 
grows out of some rocks. It has a broken bough 
and is clothed with a mass of dark green and of amber 
foliage. In the middle distance a group of buildings, 
including a tower, occupies an eminence. Farther 
to the right a shepherd and his flock appear on the 
hillside, which slopes down to a sharp point that 
juts into a sheet of very blue water. Here a man 
with his dog watches a companion fishing. The 
background at the right presents a Jagged and boldly 
piled range of blue and white mountains. 


Op ee ee Sg eee 
' . a Sk at | 


wv A i 
o) No. 16 
Bi SIR THOMAS LAWRENCE, P. R. A. 


BRITISH (1769-1830) 


MASTER ANGERSTEIN 


Height, 1534 inches; width, 1234 inches 


THE head and upper part of the bust of a boy are 
sketchily rendered against a dark olive background. 
The left shoulder is elevated and the head is inclined 
over it, the face being a little more than three-quarters 
to the front. The hair is ashy blond, dressed in a 
flat roll around the forehead and covering the ears. 
The eyes are grayish-brown, the lips ripely red and 
parted, while the flesh tints are pale carmine shaded 
with lavender. They are thinly spread, so that the 
grain of the canvas appears through them. This is 
the case also with the lavender gray jacket, the neck 
of which is overlapped by a soft white collar, fas- 
tened with slaty-colored cord. 

Purchased from T. J. Blakeslee, New York, 1895. 


No. 17 


ATTRIBUTED TO CLAUDE 
GELLEE (CLAUDE LORRAI 


Rinse f 
THE DANCE a4 Ne 


Height, 1234 inches; length, 1534 inches : nf hh 
i, VAAN" 


IN a pastoral landscape, which shows at the left a 
distant view of an arched viaduct, numerous figures 
are indicated with bright notes of color. In the cen- 
tre of the foreground a couple dance apart; the man 
holding his right arm above his head, the woman 
lifting her skirt with her left hand. A bevy of spec- 
tators is grouped at the left, while three men, ap- 
parently musicians, are seated a little to the right 
in advance of the dancers. Farther back on the right 
side another group of people appears at the foot of 
a clump of trees, the foliage of which is entwined with 
blue drapery. 

Purchased from T. J. Blakeslee, New York, 1891. 


No. 18 


UNKNOWN 


PORTRAIT OF 
ELIZABETH MARIA SOANES 


Height, 1434, inches; width, 121, inches 


Panel , pes 


ac 


g 

PLACED against a greenish Le the figure of 
a lady is shown, three-quarters full, in the direction 
of the right. The yellowish-brown hair is brushed 
back ‘off the forehead and confined in a cap, the edge 
of which is adorned with an upright lace border, con- 
sisting of a repeat of hoops, each enclosing the letter 
“S.” A similar lace design borders the many layers 
of the broadly spreading, quilled ruff. Below the 
latter two chains of pearls hang over the dark dress, 
sustaining a jewel and a pear-shaped pearl. The 
face is of smooth creamy complexion with delicately 
pencilled features. In the upper right corner ap- 
pears a quartered shield, supported by a rampant 
grayhound and a Triton, and surmounted by two 
crowns and a helmet. A writing on the back of the 
canvas contains, among other particulars, the infor- 
mation: “Elizabeth Maria Soanes, year 1600.” 


nd 
No. 19 4 pol 


ATTRIBUTED TO 
SIR THOMAS LAWRENCE, P. R. A. 


BRITISH (1769-1830) 


PORTRAIT OF THE ARTIST 


CTA nt 
Tue face and bust are shown three-quarters full, 3 
turned toward the left. The head is bald, save for 
some creamy white hair over the ears. A _ fixed 
expression distinguishes the dark gray eyes; the nose 
is fine and sensitive, the underlip full and red. ‘The 
cheeks are rosy with a faint suggestion of gray- 


_ Height, 15 inches; width, A2¥, (i 4 


brown side-whiskers. The neck is encased in an up- 
right collar and soft white cravat. A dark brown 
coat, buttoned low down on the chest, shows in the 


opening of its roll-over collar a sapphire blue vest. 
Purchased from T. J. Blakeslee, New York, 1894. 


No. 20 


)¢ JAN VAN BAAN 


HOLLAND (1633-1702) 


PORTRAIT OF A DUTCH ADMIRAL 


Height, 1544 inches; width, 12 inches 


ee : ee 


THE figure of a man in uniform, three-quarter length, 
stands facing the spectator, the right hand grasping 
a baton, and the other, encased in a fawn-colored 
glove, resting on the hip beside his sword-handle. His 
blond-brown hair, smooth upon the crown, descends 
in waves to the shoulders. He wears a creamy-olive 
frock coat, decorated with white lace at the throat and 
with bands of lace, interspersed with gold buttons 
and braid, on the sleeves, the latter being further 
embellished with tassels of black ribbon. A black 
sash with ends of gold bullion is tied around the 
waist and a hanger of gold galloon over gray silk 
crosses his chest. A frigate, flying a red, blue and 
white ensign, appears in the distance. A writing 
on the back of the canvas is as follows: “Jan Van 
Baan.” 


No. 21 ‘J 
UNKNOWN | 
HEAD OF A MAN 


Height, 15%, inches; ae Lg, Peres 
THE head, tilted a little back and slightly inclined - 
to the right, is covered with a strong growth of curl- 
ing gray hair. Both moustache and beard are iron- 
gray, the latter deepening to black on the cheeks. 
The eyebrows are black over brown eyes, and the 
flesh tints ruddy. ‘The body, seen only to a little 
below the beard, is clad in a brown tunic, which shows 
touches of reddish luminosity on the shoulders. 


No. 22 


SCHOOL OF RUBENS 
INFANT BACCHUS 


Height, 1514 inches; width, 1234, inches 


THE fleshy and ripely colored nude figure ofthe in- 
fant god is seated on the ground, the knées being 
drawn up, the torso’turned slightly to the right, and 
the head inclined over the right shoulder. The left 
arm is raised in an arc, as the hand holds a pendant 
bunch of grapes, while the right arm rests upon the 
stern of a recumbent beast, presumably a panther, 
the hand grasping its tail. The creature’s head and © 
forepaws appear at the right above the child’s left 
knee, beside a small cornucopia filled with grapes. — 


oy 


No. 23 | 
ALESSANDRO RONTINI 


ITALIAN 


THE SPIRIT OF MORNING 


Height, 171, inches; width, 814, inches A 
KL 
of ha 


Movuntine in mid-air from a coil drapery 
a woman’s figure, nude to the waist, is seen in profile. 
With the head thrown back and hand shading her 
eyes, she is gazing toward the left. Blue and pink 
petals besprinkle the drapery, around the lower part 
of which float three loves with butterfly wings. 

Signed at the upper right, A. RontTIn1. 


No. 24 


SCHOOL OF GREUZE 


FRENCH (1725-1805) 


A BACCHANTE 


Height, 1734. Gy width, aes inches 
a am ( 


THE head of a young woman, almost facing the spec- 
tator, is tilted a little back and inclined over the left 
shoulder, while the eyes glance to her right. Vine 
leaves and grapes adorn the straggling hair. A loose 
white, gray-shadowed chemise, held in place by a 
bluish-gray band around the right arm, leaves the 
shoulders and right breast exposed. A leopard skin 
is wound around the left arm and reappears above 
the right shoulder. 

Purchased from T. J. Blakeslee, New York, 1891. 


No. 25 


THOMAS COUTURE 


FRENCH (1815-1879) 


STUDY OF A GIRL’S HEAD 


Height, 18 inches; width, ‘~ inches v7 G bhi 
« x y y | 


THE sketch shows the head of a au slightly turned 
toward the left, whence a light illumines the right 
cheek. ‘The rest of the face is in greenish shadow, 
interrupted by a patch of ruddy glow below the 
left eye. A tangle of chestnut hair upon the fore- 
head and down the sides of the face is suggested by 
a few strokes over the flat underpainting. ‘The whole 
is placed against a background, stained with tawny 
drab. 


' Signed at the left, T. C. 
Purchased from T. J. Blakeslee, New York, 1892. 


No. 26 


UNKNOWN 
STUDY OF A HEAD 


Height, 1814 inches; width, 144%, inches 


THE head, inclined a trifle Od is shown three-quar- 
ters full, in the direction of the right. The eyes gaze 
at the spectator from out of shadowed sockets. ‘The 
face is red, with puffed cheeks and deep ridges at 
the sides of the nose. A brownish beard, slightly 
tinged with yellow, grows luxuriantly around the 
coarse mouth, spreading up the cheeks until it joins ~ 
the wavy hair, which falls in a peak over the fore- 
head. 


pene 
ere. 


No. 27 
OLD FLEMISH SCHOOL 
A SPANISH NOBLEMAN 


Height, 19 inches; width, 14 inches /) } 

THE head, which, like the bust, faces three-quarters 
full to the right, is crowned with a short, thick crop 
of reddish brown hair. ‘The moustache is fine and 
pointed, while a growth fringes the underlip and a 
tuft clothes the extremity of the chin, helping to 
give a peaked shape to the tapering contours of 
the face. The neck is hidden in a white ruff that is 
worn over a yellowish vest and black doublet, the 
latter being edged with two bands which are embel- 
lished with double chains of gold. 


The canvas is inscribed at the upper left, A. 1587, and at the corre- 
sponding right, AETATIS SUAE, 33. 


fig? No. 28 
OLD MASTER 
S. GIULIANO 


Height, 18%, inches; width, 1434, imches 
GR FU. Halder 
A Nimbus hovers over the golden cestnut curls 
which encircle the head. ‘The latter, facing the spec- 
tator, is upturned, with brown eyes elevated so as to 
show much of the white of the distended eye-balls. 
The white flesh is illuminated from the left with a 
greenish light. A shadow envelopes the left cheek 
and runs down the centre of the neck, the latter ap- - 
pearing above a rough orange tawny robe. | 


The canvas is inscribed at the lower right, S. GiuLtano. 


No. 29 


OLD MASTER 
HEAD OF A RABBI 


Height, 1834, inches; width, 1614, inchés {) 


Fu. face but for a slight inclination to the left, 
the head appears shrouded in an old-rose drapery, 
the ends of which are crossed below the neck. The 
shaggy gray eyebrows are drawn down to the eyes, 
deepening the puckers above the long nose. The 
underlip shows prominently in the midst of a white 
woolly beard that grows high up on the cheeks and 
terminates below the chin in a radiation of curls. 


No. 80 


ATTRIBUTED TO 
FEDERIGO ZUCCHERO 


ITALIAN (1543-1609) 


MARY QUEEN OF SCOTS 


Height, 18 inches; width, 16 inches 


a (/ ie 

A waApy’s head and bust are represented inclined a 
quarter to the left, while her eyes glance to the right. 
A muslin Tudor cap, with a little jewel hanging from 
the peak, surrounds the golden-brown hair. The 
features are delicately modeled. A boxed ruff fits 
tightly around the neck, above an olive-black dress, 
fastened with gold buttons and embellished on the 
shoulders with epaulets. 

Purchased from T. J. Blakeslee, New York, 1895. 


No. 31 


SIR ANTONIO MORE 
(ANTONIS MOR or MORO) 


FLEMISH (1512-1582) 


PORTRAIT OF PHILIP II OF SPAIN 


Height, 19 inches; “2 15 ey / SA PTD, 


THE head and bust, three- Ghee in view, are in- 
clined to the right. The former is covered with a 
stubby growth of short dark brown hair, while the 
moustache and beard, which reaches up to the ears, 
are red. A narrow ruff surmounts a collar, formed 
of red tabs which lap over the gorget. The latter is 
of dark steel, embellished with gold arabesques. A 
broad, gold neckchain descends over the tan-colored 
surtout, the armholes of which are edged with red 
and wide squares. ‘The sleeve of the undergarment 
is striped with cream and gold, and set off with a 
knot of rosy-cream webbing. A note testifying to the 
fact of the portrait being of Philip II by Sir Antonio . 
More, appears at the back of the canvas, where also 
are a red seal and a wooden tablet, incised with a 
monogram, apparently of the letters, “D. S. C.,” be- 
neath a crown. 

Purchased from Charles Sedelmeyer, Paris, 1899. 


No. 82 


SCHOOL OF REMBRANT 
ROBABLY JAN ANDIES LIEVENS 


HOLLAND (1644-1688) 


PORTRAIT OF ANNE MARIA DE 
SCHURMAN 


Fe 21 inches; TS 


A STATEMENT on Ae mad of the canvas reads: “Por- 
trait d Anne Maria de Schurman. Célébre pour son 
erudition—miniaturiste.” This lady, who signed her 
name “Schurmans,” after she settled in Holland, was 
of German family, born in Cologne in 1607. She 
died at Wiewert, near Leeuwarden, in 1678. ‘There 
is a portrait of her by Jan Lievens in the National 
Gallery. 

The head and bust are inclined toward the right, 
three-quarters full. The lady’s Titian red hair is 
brushed smoothly back from the smooth high fore- 
head and adorned with an ornament of rubies. The 
face is distinguished by small, compressed lips over 
a conspicuously long chin. Two strings of pearls 
encircle the throat, while three bands of gold embel- 
lish the creamy gray guimpe, over which, near the 
left shoulder, is suspended a gold chain. The dress 
is dark, with suggestion of gold fringe, showing at 
the right. 

Purchased from T. J. Blakeslee, New York, 1891. 


No. 33 f 


UNKNOWN 
ST. JOHN 


My 
A LUMINOUS atmosphere surrounds the head, which 


is that of a young man with a rather feminine expres- 
sion. The dark chestnut hair is ruffled over the top 
of the head and down the sides to the shoulders. A 
warm brown shadow envelops the neck and left 


Height, 22 inches; width, Or. 


shoulder. ‘The bust is clad in a dark olive robe over 
a dull red undergarment, the low round neck of 
which is edged with white and gathered in the centre 
into a full plait. The head and bust, three-quarters 
full to the right, are enclosed with an oval line of 
somewhat lighter tone than the rectangular back- 
ground. 


Rem ote C Maha FTO Oe More heii] On eh CORREA AE! oni eee te UN cia 


No. 34 
UNKNOWN 
A POET 


a Height, 21 inches; sia & inches 


LAT ee 

THE head, inclined over the right shoulder, faces the 
spectator. Brownish hair, blond where it catches 
the light, falls low over the ears in loose waves. ‘The 
large eyes are blue, the nose is precise, and the lips 
close in a cupid’s bow, while the complexion is cream 
and carmine, powdered over with greenish gray in 
the shadows. A soft, white tuckered collar falls over 
the black tunic.. The whole is shown against a slaty 
blue sky. 


No. 35 o 
SIR WATSON GORDON, P. R. S. A. 


BRITISH 


THREE BOYS’ HEADS 


Height, 17 inches; Pe pOd ly Gallerie 


Or the group of three heads, the centre presents an 
oval face, crowned with golden chestnut hair, with 
liquid dark gray eyes, gazing at the spectator. 
Against this boy’s left cheek leans the head of a 
brown-eyed boy, whose chestnut hair is of darker 
hue. At the left of the couple appears the head of a 
third boy with still darker hair, whose face is seen 
in profile. He wears a white ruffle inside the neck 
of a dark olive-brown jacket. ‘The two others have 
white fall-over collars, with tuckered edges, the little 
boy in the centre having also a dull lavender rose 
muffler around his neck. 

Purchased from T, J. Blakeslee, New York, 1895. 


peat) 
gee a 
J Ra 
¥ A> : 
; f 
ee 
ik 


Meer. 
q . 2 No. 36 
. 


- SCHOOL OF BOUCHER 


FRENCH 


A PASTORAL 


Height, ney fae Wid 


nA Ee ae holding a distaff in her right hand 
and a spindle in her left, stands in the centre of the 
composition on a slight elevation. She is dressed in 
a dainty rococo costume, including a whitish orange 
apron and blue skirt, puffed in panniers over a 
creamy buff petticoat. She turns her face toward 
a blond-haired youth in a lavender-rose jacket, who 
is seated on a donkey. ‘The latter is standing at a 
lower level, to which some sheep and goats are de- 
scending. At the right of the scene a child kneels 
on the ground, prying into a basket. 

Purchased from T. J. Blakeslee, New York, 1892. 


ate ie 
No. 37 \ | 


UNKNOWN 
THE ADVOCATE 


A 
Height, 221%, inches; width, 19 inches 7} / 
. Typos Vr 


WuHtueE the eyes look off to the left, the head and 
bust front the spectator. The face, surmounted by a 
peaked, black cap, is of sallow complexion, with a 
dark beard which grows up to the ears and descends 
to a point below the chin. The body is attired in a 
black robe, distinguished by a collar of shaggy brown 
fur and by sleeves puffed above the shoulders. In 
the upper right corner appears a shield, bearing three 
red rosettes and surmounted by a helmet. Below 
the coat of arms is inscribed: AUT’ SUA 82, 1545. 


NN PT Sh ESSERE TONEY ers On ak llr eee rc 
. 5 * . ’ 


ees Ost kth 8 
hi vt rae rine ve 
er te ah arb hee | 
3 LED et ee A ae 
t ¥ 0 
a 


No. 38 


WwW. B. M. 
PORTRAIT OF CHARLES DICKENS 


SAID TO HAVE BEEN PAINTED FROM LIFE IN PHILADEL- 
PHIA, 1869, BY UNIDENTIFIED ARTIST 


Height,.24 inches; width, 171, inrhes 
| FV. t¢, 
THE figure, half-length, stands inclined /to the right; 


the eyes directed at the spectator, the right hand 
planted on the hip and the left resting on the knob 
of a walking cane. The bald head is fringed at the 
sides with blond-brown hair, brushed outward over 
the ears. A blond beard flares from the chin, while 
the growth immediately beneath the lower lip and 
the moustache are straw-colored. A turned-down 


collar and pure white tie, confined by a ring, appear _ 


above a black velvet waistcoat, on which hangs a 
double watch chain, supporting a locket in the centre. 
The costume is completed by a slaty-gray lounge- 
jacket, quilted and embroidered and embellished with 
black velvet lapels. 2 

Signed, W. B. M. 


No. 39 \ O f 
JAN VAN HUIJSUM 


HOLLAND (1682-1749) 


STILL-LIFE y Wy re 


Height, 254, inches; width, 181, inches 


THE centre of a yellowish-green table-top is occupied 
by a dark green, glass flask, from which the casing 
of twisted corn-leaves has become detached, hanging 
in loose rings. It contains a bunch of crimson and 
white carnations. At one of the latter, on the left, 
a butterfly is sipping, while another is poised in the 
air at the right of the flowers and still a third has 
alighted on a frayed end of the casing. On the table 
in front of the flask appear a lizard and a grass- 
hopper. 


No. 40 


UNKNOWN 
SPANISH CAVALIER 


Height, 24 a ne? 20 inches 


-'TuEbust is almost in profile toward the right. It 
is clad in dark armor, studded with amber-colored 
rivets and crossed by a creamy, olive-gray sash, which 
shows a strip of blue low down on the chest. The 
face, turned toward the right shoulder with eyes 
gazing still farther to the left, is that of a young man 
with soft brown-blond hair, arranged in wisps over 
the forehead and falling to the neck in curls. Around 
the neck is a high muslin collar, with a broad turn- 
over of delicate lace. 


No. 41 


GEORGE ROMNEY 


BRITISH (1734-1802) 


PORTRAIT OF SIR MEUK SMITHSON 


A RELATIVE OF THE FOUNDER OF THE SMITHSONIAN 
INSTITUTE, WASHINGTON 


Height, 24 inches; width, wre 2A 


THE face is that of a young man with warm brown 
complexion and chestnut hair, the latter brushed 
back from the forehead and brought forward in a 
curly mass over the ears. His large, liquid brown 
eyes gaze at the spectator, although the head, like 
the bust, is inclined a quarter to the left. The lips 
are full and noticeably crimson. The lower part of 
the neck is encased in a white stock, with a border of 
rich lace that falls over a dark olive-green mantle. 
The background is of a still darker tone of the same 
hue. 


Purchased from Arthur Tooth & Sons, 1897, who obtained the picture 
from the Smithson family. 


No. 42 


UNKNOWN 
S. FRANCIS D’ASSISI 


ae. oy inches ; “He a Ded. ee 


‘< A NIMBUS ene “pat his head, a monk in brown 
habit is represented in profile as far’as the waist. 
With clasped hands and parted lips he gazes fixedly 
up toward the left at a crucifix, which is surrounded 
with a luminous aura. The face is sensitively 
moulded, and distinguished by a brown moustache 
and beard, the latter growing up the edge of the 
cheek to the ear. On a rock beside his hands lie a 
skull and open book. A spire surmounted by a cross 
appears in the distance at the right. 


No. 48 


SIR JOSHUA REYNOLDS, P. R. A. 


BRITISH (1723-1792) 


PORTRAIT OF 
DOCTOR SAMUEL JOHNSON 


Height, 28 inches; width, 211% inches 


PEP I fod Gell ric 


THE head and bust are i aes three-quarters 
to the front, in the direction of the right. A soft 
white wig, puffed at the sides, surmounts the ruddy, 
fleshy face, which has a pendulous nose and a double 
chin, overhanging the white cravat. The coat is olive- 
green, open over a vest of the same color that is but- 
toned up to the neck. ‘The right arm hangs vertical 
- as far as the elbow and thence is held at right angles 
across the body. From the cuff of the coat a bit of 
white sleeve protrudes, finished in a soft band around 
the wrist of the clenched hand. Upon the dark back- 
ground are indications of a red chairback. 

Purchased from T. J. Blakeslee, New York, 1899. 


5) 


f i No. 44 
ry GEORGE ROMNEY 


BRITISH (1734-1802) 


MASTER NAYLOR 


Vane Q7 pega? width, 23 inches 


Tur rete et. ne is represented woke -quarters 
full, facing to the right, with the eyes, however, fixed 
on the spectator. The set lips give an expression of 
seriousness to the boy’s face, which has a fresh com- 
plexion of carmine and cream. His golden chestnut 
hair, parted over the right temple and brushed low 
down in a curve above the eyes, is surmounted by the 
round brim of a black felt hat, which is seen against 
a mass of yellowish-brown foliage. The neck is sur- 
rounded by a broad flat collar, edged with a flounce, 
which lies over a scarlet coat. The latter is fastened 
with three buttons as far as the waist, where the com- 
mencement of the cut-away appears. 


Col. Honeywood Collection, London. 


Purchased from Arthur Tooth & Sons, 1897. 


a one ae 


No. 45 
FRANCIS PHILIP STEPHANOFF i 
RUSSIAN-BRITISH (1788-1860) Al, 
THE POOR RELATIONS 2 


Height, 27 inches; width, 251 inches 


ie Blarhedr Gables 
6 | 


As A manservant in a dull red livery stoops over a 
table to remove the breakfast tray, he whispers into 
his master’s ear, drawing the latter’s attention to 
three vistors, who are grouped at the left of the com- 
position. A young woman in mourning garb, which 
includes a poke bonnet, stands holding a letter, while 
beside her stands a girl, also dressed in black, who 
carries her hat suspended in front of her. At her 
back is a small boy, peeping apprehensively over the 
rim of his hat. The gentleman, seated at the right 
of the table, is attired in a crimson velvet cap, rosy- 
cream lounge coat and purple breeches, over which 
lies a deep blue handkerchief. A middle-aged lady 
is seated at the right of him, beside the fireplace, 
nursing a white toy poodle. 

Purchased from T. J. Blakeslee, New York, 1897. 


No. 46 


MICHIEL JANSZ VAN 
MIEREWELD 


HOLLAND (1567-1641) 


PORTRAIT OF A HOLLANDER 


Height, 29 inches; width, 2314 inches 


Oyal Panel 
A Vrarg 

THE figure, inclidéd a quarter to the right, is that of 
a bald-headed man with a patch of short, dark brown 
hair over the ear. His eyebrows slope abruptly to 
the nose, which is long with a protuberant ridge. 
The moustache is brown and a small beard forms a 
tuft at the pomt of the chin and extends a little way 
up the edge of the jaw. The latter is surrounded 
by a white ruff, worn over a tight black silk tunic — 
with quasi-epaulets on the shoulders. An inscrip- 
tion at the left of the oval reads: “WT 89, A.D. 
1618.” 
Purchased from S. P. Avery, Jr., New York, 1891. 


No. 47 ¢ 
JOHN OPIE, R. A. 


BRITISH (1761-1807) 


PORTRAIT OF A YOUNG LADY 


Height, 28%/, inches; width, 2 oe (3 ee 


THE ee of a young girl, seen & a little below the 
waist and slightly inclined to the left, is posed in 
front of a dark olive-tawny tree. At her left ex- 
tends a vista of blue landscape and _ bluish-greeny 
sky, with layers of faint rose and cream over the 
horizon. The arms are held down beside the skirt of 
her luminously white gown, the bodice of which is 
peaked at the waist and trimmed with olive-gray 
muslin around the circular opening of the neck. A 
flexible straw hat encircles her dark brown hair which 
waves over the forehead and hangs in curls at the 
sides. A narrow blue ribbon is tied in a bow around 
her neck. 

Purchased from T. J. Blakeslee, New York, 1896. 


No. 48 


UNKNOWN 
DUTCH PURITAN 


Height, 30 inches; width, 25 inches 


A BLACK steeple-hat surmounts the long narrow face 


- which is framed with lank, white hair. The flesh- 


coloring is soft and pink, the features presenting a 
long, beak-like nose and a mouth that has an ex- 
pression of self-satisfaction and a protruding under- — 
lip. The lower part of the face is closely surrounded 
by a white ruff; the figure, seen as far as the waist, 
with the arms hanging at the sides, being clad in a 
tight fitting black tunic. At the lower left of the 
canvas is the inscription: AITAT. 83, ?AGAG. 
1649. 


No. 49 


SIR JOSHUA REYNOLDS, P. R. A. 


BRITISH (1723-1792) 


oppeti! 35 RATA NIE ae wire 
fees = 2 heal a8 
—PENELOPE--BOOTHBY 


Height, 30 inches; width, 25 inches 


eee (hf d i Vy L Uys } 


THE figure of a young girl] is represented as far as 
‘ the waist, in profile, directed toward the right. Her 
head is crowned with a gray-white mob cap, from 
under the ruffle of which the auburn hair spreads 
across the forehead in a bang and nestles in curls at 
the neck. ‘The flesh tones are creamy carmine and 
pale greeny-cream; the lips being a deep red, the 
eyes brown and pensive in expression. The gown 
is colored thinly with cream over a warm underpaint- 
ing, while a cream of more body distinguishes the 
band around the circular opening of the neck. The 
figure appears against an olive-green sky, growing to 
blue at the right, where some trees are sketchily in- 
dicated. 


Collection of S. T. Smith, London, a grandson of the author of Smith’s 
famous catalogue Raisonné. 


Purchased from T. J. Blakeslee, New York, 1898. 


ne 


p 
a 


& 


No. 50 


SIR JOSHUA REYNOLDS, P. BR. A. 


BRITISH (1723-1792) 


PORTRAIT OF DR. ARMSTRONG 


A WHITE wig, softly frizzed and extravagantly 


puffed over the ears, encircles the face, which, like 


_ the bust, appears three-quarters in view toward the 


right. The eyes are gray, and the nose long and 
prominently pendulous, casting a shadow on the up- 
perlip, while the underlip is fleshy and protruding 
over the double chin. A white neckcloth appears 
above the low square-cut collar of the black coat, 
which is shown nearly to the waist. It is embellished, 
as is the black vest, with gilt buttons. A paper at 
the back of the canvas reads as follows: “Extracts 
from Sir Joshua’s private memorandum book, copied 
by Beachey and by Haydon from him. These memo- 
randa have already been published, some in “North- 
cote’s Life,’ and others by Sir C. L. Eastlake in his 
‘Material for Oil Painting,’ Ed. of “Haydon’s Life.’ ” 
This one reads: “1767, Doctor Armstrong (this por- 
trait) Painted first, poi verniciato, poi cera sola, 
—e vernice.” (Then varnished, then wax only and 
varnish. ) 


Purchased from T. J. Blakeslee, New York, 1899, who obtained the 
portrait from S. T. Smith, Duke Street, London. 


Engraved by S. W. Reynolds and published by Henry Graves & Co. in 
their work “Reynolds’ Portraits.” 


No. 51 _ 

SIR JOSHUA REYNOLDS, P. R. A. 
BRITISH (1723-1792) 

AGE OF INNOCENCE 


Height, 30 inches; width, "y Mitel 


A eer 


A LITTLE child is seated on the ground, i” bare cee 


peeping out from under the creamy skirt of her frock. 
Her body is turned three-quarters to the front, while 
the face is in profile to the right. The latter shows 
against the blue sky, while behind the soft, wispy, 
golden-brown hair, which is bound with an old-rose 
band, appears a mass of foliage, intersected by two 
crossed birch-trunks. The horizon is suffused with 
rose, against which drowse some brown trees. The 
child’s left hand is laid with daintily outspread fin- 
gers over the right on her breast. The lovely, pen- 
sive face has brown eyes and parted lips, the latter 
distinguished, like the nostrils, by delicate carmine. 
Purchased from T. J. Blakeslee, New York, 1895. 


oe ae eee 


No. 52 


ATTRIBUTED TO 
yg SIR JOSHUA REYNOLDS, P. R. A. 


ew lean och 
gig the 


PORTRAIT OF THE « hee 


~ Height, 30 aoe width, 25 aw Mr 


BRusHED in on the back of the canvas is a statement 
which includes the words, “Joshua Reynolds, Eques,” 
and further refers to his Oxford degree of D. C. L. 
For the figure, shown as far as the elbow in profile, 
is attired in the gown of a Doctor of Civil Law, a 
scarlet robe with full, rosy-pink sleeves. The right 
arm is held across the bottom of the canvas, the hand, 
which projects from a fawn-colored, lace-edged cuff, 
grasping a folded paper. On the latter appears in 
script, “Disegno del divino Michelagnolo.” ‘The face 
is turned three-quarters to the front, the eyes glanc- 
ing sharply to the left. A black silk cap with cury- 
ing brim surmounts the light brown wig, which is 
curled over the ear in rolls. 


Purchased from T. J. Blakeslee, New York, 1895. 


No. 53 


SIR WATSON GORDON, P.R. S.A. 4 


BRITISH 


PORTRAIT OF A YOUNG LADY | 


Height, 30 inches; width, 2tnehes / ; é 
V ah berber Lg ble Keb 
v 


THE round brim of a black hat, trimmed with pur- 
_plish-red ribbon, frames the golden-amber hair, which 
is dressed in curls around the forehead. A narrow 
wine-red ribbon is tied in a bow around the neck. A 
cloak of the same hue, with broad collar and lapels, 
falls open from the shoulders, exposing an Empire 
gown, striped with a lighter tone of wine-color and 
grayish-white. ‘The low-cut bosom shows the edge 
of the chemise. ‘The two hands are held down over 

_ the skirt, the left one drawing a tan glove onto 
the other. The figure, full front to the spectator, with 
the head turned a quarter to the left, is projected 
against a profusion of yellowish-brown and reddish 
leafage. 


Purchased from T. J. Blakeslee, New York, 1895. 


Ce”. Ce YD Ay UE at eee th) eee be pe 


No. 54 


JOHN OPIE, R. A. 


BRITISH (1761-1807) 


GIRLHOOD 


Height, 30 inches; width, Y inches 
THE figure ofa young girl is shown to a little be- 
low the waist; the body fronting the spectator, the 
head inclined toward the left, while the eyes glance 
in the opposite direction. The soft golden hair, 
spread in curls over the eyes, appears from under a 
straw poke-bonnet, the narrow string of which the 
girl holds with her left hand. Her right arm is car- — 
ried down and across the skirt of the simple white 


frock, which has short puffed sleeves, and a body in ~ 


Empire fashion cut low over the breasts. The girl 
seems to be seated on a bank, behind which is a profu- 
sion of tawny olive foliage, interrupted by a glimpse 
of murky blue sky with some rosy-cream over the 
horizon. 

Purchased from T. J. Blakeslee, New York, 1895. 


if Te PEI tat Tia (A a eae a 


No. 55 


UNKNOWN 
PORTRAIT OF A GENTLEMAN 


Height, 30 inches; width, 25 inches < Uy 
Correa ie 
On the olive background there is the indication of an 
oval ring, within which the head and bust are disposed 
three-quarters full, to the right. The gray wig is 
dressed smoothly over the crown, and in two curls 
over the ears. The nose is a trifle pendulous, the 
lips firmly set and the eyes, which follow the spec- 
tator, are olive-green. A white stock and the collar 
of a rosy vest, trimmed with gold, show beneath the 
velvet collar of the brown coat. 


No. 56 


THOMAS GAINSBOROUGH, R. A. 
BRITISH (1727-1788) 


WILLIAM PITT 
FIRST EARL OF CHATHAM 


Heig pay mG width, 95 Pah 


“Tuk head and Ree ge wy, a es wee in profile, facing 
to the left, are displayed against a dull red oval which 
merges into the dark olive of the rectangular back- 
ground. A gray wig, with two rolls over the ears 
and around the back, shows beneath it what is ap- 
parently natural hair. ‘The nose notably projects 
to a point; the lower lip is slightly drawn in and 
a cleft appears in the centre of the chin. The coat 
with its broad collar and lapels is of cool dark green 
material, showing the flaps of the vest, striped with 
two tones of sea-green. The white stock is tied in 
a bow. 


Collection of Sir John Pender, London. 
Purchased from Arthur Tooth & Sons, 1897. 


No. 57 
SIR PETER LELY 


GERMAN-HOLLAND (1618-1680) 


PORTRAIT OF NELL GWYNNE 


.. Height, 30 inches; width,25 ; ches Ee, 
THE bust, full front, and the (B4 turned a little to 
the left, are enclosed in an oval which at the bottom 
is decorated with scroll-work, leaves and fruit, ex- 
ecuted in grisaille. ‘The lady’s dark brown hair is 
parted on the crown of the head and frizzed into 
large puffs at the sides. The edge of a white che- 
misette shows upon the left shoulder and bosom, while 
a triangular bit of it, plaited in folds, appears in the 
V-shaped opening of the gown. The latter is of 
golden-brown material, draped from the shoulders 
and fastened in the centre with a dark jewel. 
Purchased from T. J. Blakeslee, New York, 1894. 


No. 58 


SIR PETER LELY 


GERMAN-HOLLAND (1618-1680) 


PORTRAIT OF A MAN 


eth 30 inches; ouneele 25 inches 


THE Aare of a man, ao esented nearly to he waist, 
is posed three-quarters full, in the direction of the 
right. Straight hair of a very dark brown hue falls 
to the shoulders, where it is dressed in a bunch. ‘The 
eyebrows slope steeply down toward the nose; the 
latter has a wide nostril, and the lips are resolutely 
set above a double chin. Small tufts of hair appear 
at the corners of the upper lip and under the lower. 
Around the throat is a broad bluish-gray linen collar, 
which curves flatly over the black velvet doublet. 
The latter is interrupted by three slashes of inverted 
V-shape, showing white. At the upper left of the 
canvas appears this inscription: “dv7' SUA 34, 
ANO DNO, 1659.” 


Purchased from T, J. Blakeslee, New York, 1894. 


oe” cei, 
ag ¢ Pee : 
fo E 
wae bast giN 
‘ a ae 
No. 59 Z 
O. 


SCHOOL OF LAWRENCE 
PORTRAIT OF MRS. FITZGERALD 


Height, 29%, reg , 25 Anches & Mypaa 


THE figure of the lady is seated with a slight inclina- 
tion toward the right. The forearms, the hands of 
which disappear behind the frame, rest on the lap of 
a simple white gown. The body of the latter is fitted 
with tight sleeves to the elbow and draped across the 
bosom, so as to leave a V-shaped opening. Three 
strands of golden-yellow beads encircle the long, 
slender neck, on which the head is tilted a trifle to 
the right. The very dark hair hangs free at the 
back of the neck, curls over the forehead, and is 
bound, turban-fashion, on the crown with pale yellow 
bands. 


Purchased from T. J. Blakeslee, New York, 1899. 


Wg Fa7) Oe et 7 
te wi ii 


No. 60 


/ SIR THOMAS LAWRENCE, P. R. A. 
a i i 


BRITISH (1769-1830) 


PORTRAIT OF LADY HARFORD 


Height, 2 inches; width, 243, inghes 4 , 
WHILE the bust of the lady is full to the front, the 
face is three-quarters in view, inclined to the right. 
The action of the head brings into prominence the 
straight contour of her long neck that grows finely 
out of the beautiful slope of the shoulders. ‘These 
are exposed by the circular opening of a pearly satin 
Empire gown, which has short puffed sleeves, and is 
confined at the waist with a rosy silvery sash. Below 
this appears a gold watch attached to a slender chain, 
which encircles the neck and is looped up on the 
breast by a carbuncle brooch. ‘The left arm crosses 
the lower part of the canvas, the fingers being en-— 
twined with those of the right hand. The jewelry 
includes a bracelet, decorated with three rows of 
pearls, a silver ring, and two others, set respectively 
with a pearl and a brilliant. 
Exhibited at the British Institute, 1883. 


Collection of Hart Davis, London. 
Purchased from T. J. Blakeslee, New York, 1895. 


No. 61 


FRANCIS COTES, R. A. 
BRITISH (1726-1776) 


BUST PORTRAIT OF A GENTLEMAN 


SAID TO BE RICHARD BRINSLEY SHERIDAN 


Height, 29%, inches; iP ee / Ais: 

THE portrait presents a young man in ruby velvet 

coat with high roll-over collar. A vest of the same 

hue and material appears beneath, the two top but- 

tons being unfastened, displaying the creamy-white 

fall of the stock. ‘The bust is full to the front, while 

the face, of warm complexion, is inclined slightly to 

the left. It is surmounted by a gray wig, combed 

back from the forehead and rolled over the ears. 

Purchased from T. J. Blakeslee, New York, 1895. 


No. 62 , . 
SAMUEL LANE 


BRITISH (1780-1859) 


SIR ROBERT PRICE, BART. 
OF FOXLEY, HEREFORDSHIRE 


(1786-1857) 


Heights30 inches; width=-25 inches 


THE head and bust of a gentleman of middle age are 
represented three-quarters full in the direction of the 
right. His brown hair is short and wavy around the 
face, which is distinguished by gray eyes, a strong 
straight nose and a somewhat prominent underlip. 
The chin shows between the points of a stand-up 
collar, over the bow of a white stock. ‘The lapels of 
a brown coat are visible below a black redingote, the 
collar of which is covered with brown fur, while frogs 
and buttons decorate the breast. 

An inscription on the back details that the subject 
- was of Ap-Rhys stock; a famous lawyer in the reign 
of William III, and Anne and M. P. for Hereford- 
shire. That he defended Lord Mohun, the noted 
duelist, and was himself arrested in Rome for carry- 
ing an English Bible. He was pardoned by Inno- 
cent XI, to whom he presented the Bible, which is 
said to be now in the Vatican Library. 
Collection of James Price, London. 


Purchased from S. P. Avery, Jr., New York, 1899. 


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No. 63 


RICHARD COSWAY, R. A. 


BRITISH (1742-1821) 


A PICTURE OF HEALTH 


ps eae uy Trphee cd Orb her 


A youNe woman faces the spectator, her yellow- 
brown hair, wavy and tangled, being blown toward 
the left against a greeny, pale blue sky. Her body, 
seen to the waist, is enveloped in a white cloak with 
broad ruffles around the neck, where it is caught 
into place by the right hand. A black velvet band 
encircles the wrist, the arm being bare to the elbow. 
A vista: of meadow, with cows and trees, shows on 
the right under a horizon dyed with rosy-cream. 


From the Hamilton W. Day Collection, London. 
Purchased from Arthur Tooth & Sons, 1897. 


No. 64 


JOHN SINGLETON COPLEY, R. A. 


AMERICAN-BRITISH (1787-1815) 


PORTRAIT OF NELSON 


Height, 30 my width, 25 inche 7 


oe 


TuE rosy face of a young man is three-quarters 
shown, inclined to the left, though the gray-blue eyes 
front the spectator. The soft brownish blond hair 
lies in a row of little wisps over the forehead and 
curls at the back of the neck. ‘The body, seen nearly 
to the waist, is attired in a black coat which has a 
high roll-over collar and is embellished with gilt but- 


tons, bearing a demi-lion rampant. ‘The figure is ~ 


placed against a bank on which the right arm rests, 
a view of the sea and a ship appearing in the left 
distance. 

Purchased from T. J. Blakeslee, New York, 1895. 


No. 65 


JOHN HOPPNER, R. A. 


BRITISH (1758-1810) 


PORTRAIT OF LADY STANHOPE 


Height, 30 inches; width, 45 inches SZ eee ‘ 
(is Un 


Unper a black Gainsborough hat the face is almost 
full to the spectator, framed at the sides with fluffy 
brown hair. The eyes are olive-slate in hue; the nose 
is delicate, but determined, and the lips are fleshy. 
A white fichu is crossed over the bosom and fastened 
in a large bow at the back of a pale sapphire silk 
dress, the sleeves of which are finished just below the 
elbow with ruffles. The figure, represented nearly 
to the knees, is seated against a crimson curtain, at 
the right of which appears a glimpse of landscape. 
Purchased from T. J. Blakeslee, New York, 1894. 


No. 66 


ATTRIBUTED TO 
SIR WILLIAM BEECHEY, R. A. — 


BRITISH (1753-1839 ) 


LADY IN WHITE 


. eight, 30 Anches; ee incgh¢: | 
( UA 


A LApy is seated in profile, facing to the left against 
a background of olive-tawny foliage. Her left arm 
from the elbow downwards rests upon her lap; while 
the other, propped upon her knee, which is slightly 
raised, supports her head. ‘The dark hair, brushed 
down smooth from the crown and arranged in ring- 
lets over the ears and neck, shows beneath a Gains- 
borough hat of cerulean blue, embellished with whit- 
ish-blue ostrich plumes. A gray-blue muslin fichu, 
crossed upon her bosom and fastened with a rosette 
of the same material, lies over a white muslin gown, 
gray in the shadows. Her blue sash is tied in a bow 
behind. 


Purchased from T. J. Blakeslee, New York, 1895. 


No. 67 
ATTRIBUTED TO MURILLO \ ¢ ? 


SPANISH (1618-1682) 


MOTHER AND CHILDREN 


Height, 44 ee. width, se ahs oy at. Me ae ie 


WudueE she sits facing us, with a oie on her lap, a 
ruddy hued young woman turns her head in profile 

to the right to greet a little brown-haired boy. The 
latter has his right hand around the back of his 
mother’s neck, resting on her shoulder, and his left 
hand laid upon her chin, as he lifts up his face to be 
kissed. Meanwhile, the baby, lying on its back, raises 
its hands as if to attract the mother’s notice. Its 
brown and rosy body is nude except for the corner 
of a white drapery that les over the woman’s rich 
dull red skirt. Her left hand shows under the baby’s 
body, while her right lies upon a dark blue mantle 
that covers her right shoulder and breast. The little 
boy is clad in a loosely fitting brown tunic. 


Purchased from T, J. Blakeslee, New York, 1891. 


oe 


No. 68 


JACOB GERRITSZ CUYP 


HOLLAND (1594-1651 or 1652) 


CHILD AND GOAT 


Height, 4814~inches; width, 351, inches 


| 6. Mr A arden 
A LITTLE girl stands facing us, as she holds the black 


bridle of a tawny-colored goat, whose head and stern 
project from behind her figure, the creature’s head 
being toward the left. Her round face is encircled 
with golden blond ringlets, which escape from a white 
cap that is almost hidden beneath a black one, 
trimmed with gold galloon. The dress, reaching to 
the ground, is a rich reddish-brown, the broad collar 


and cuffs being of fine lawn, edged with dainty lace. 


From her right shoulder four gold chains descend 
over the breast and disappear under the left arm. In 
her left hand she carries a cane diagonally across 
her skirt. A large tree-trunk shows behind the goat’s 
head. 


Purchased from T. J. Blakeslee, New York, 1901. 


No. 69 


GIOVANNI FRANCESCO BARBIERI 
(IL GUERCINO) 


ITALIAN (1591-1666) : 4 { ei” 


RINALDO AND ARMIDA se pj 


Height, 44 inches; length, 60 aon, tOnactt 
Vw re 


THE beautiful sorceress of Tasso’s “Jerusalem De- 
livered” is represented in the act of threatening to 
pierce her bosom with an arrow. Her figure is shown, 
full face, almost to the knees, clad in a golden amber 
robe, with an ashy-olive sash knotted around the 
waist. ‘The bodice, finished with little buttons and 
loops, is unfastened, displaying the right breast. 
This has arrested the gaze of the Crusader, Rinaldo, 
as he stands at the lady’s right, grasping her out- 
stretched arm with both his hands. He is accoutred 
in a helmet, with white and olive plumes, and a brown 


scale cuirass, edged with metal, a crimson mantle — 
being draped over his right shoulder. Armida’s up- 
lifted eyes are dewed with tears and her lips parted 
in anguish, while her left arm is held extended over 
a breast-plate, helmet and quiver of arrows which 
lie on the ground. 

Purchased from T. J. Blakeslee, New York, 1894. 


vy. 


FIRST AFTERNOON’S SALE 


TUESDAY, APRIL 18, 1911 


AT THE AMERICAN ART GALLERIES 


BEGINNING PROMPTLY AT 2.30 O’CLOCK 


BLUE AND WHITE PORCELAINS 


75—Two Miniature Borries 
Long Elizas and floral sprays in cobalt blue. 


76—Smatut Pear-sHaPep VAsE 
Long Elizas and flowering vase in opaque underglaze 


blue. 


“7—SMALL VASE 


With cylindrical body; panel decoration of figures in 
garden and flowering plants in two shades of under- 


glaze blue. K’ang-hsi period (1662-1722). 


"“8—SMALL PEAR-SHAPED VASE 


Lotus, chrysanthemum and peonies in two shades of 
underglaze blue. Ch’ien-lung period (1736-1795). 


79—Smatz Ovorw Jar with Hanvie 
Panel decoration in shape of lotus petals, filled with 
Long Elizas and flowering plants in underglaze blue. 


’ Ch’ien-lung period (1736-1795). 


80—Sma.u Prar-sHAPED VASE 
Flowering shrubs and the Hundred Antiques in two 


shades of underglaze blue. Ch’ien-lung period (1736- 
1795). 


81—Smauu IncENSE BuRNER 


Corrugated globular-shape ; flowers, symbols and dia- 
per patterns in two shades of blue. Ch’ien-lung period 
(1736-1795). | 


82—MInIATURE GALIPOT 


Hawthorn blossoms in brilliant cobalt blue. K’ang-hsi 
period (1662-1722). 


83—Smautu BorriueE-sHAPED VASE 


Bands of sceptre-head scrolls and palmettes in brilliant 
underglaze blue; floral scrolls in reserve. K’ang-hsi 
period (1662-1722). 

Height, 5 inches. 


84—Smatu Ovirorm JAR 


On tall foot. Panel decoration of Long Elizas and 

flowering plants in opaque blue. K’ang-hsi period _ 

(1662-1722). 
Height, 434 inches. 


85—SMALL JAR 


Decoration of figures in garden and flowers in under- 

glaze blue. Mounted in metal of Dutch workman- 

ship. } 
Height, 5 inches. 


86—Smauu CyLinpRICAL BotTtLe 


Symbols and border designs in two shades of brilliant 

blue. K’ang-hsi period (1662-1722). Mounted in 

metal of Dutch workmanship. 
Height, 4 inches. 


87—Smatu PrarR-sHAPED VASE 


Raised panels containing Long Elizas and flowering 
shrubs in brilliant underglaze blue. K’ang-hsi period 


(1662-1722). 
Height, 41/, inches. 


88—Patir Smauu VASEs 


Panel decoration, in shape of petals, containing Long 
Elizas and flowering shrubs in opaque cobalt blue. 
K’ang-hsi period (1662-1722). 

Height, 434, inches. 


89—BoTTLE-sHAPED VASE 


So-called soft paste. The Hundred Antiques in two 
shades of brilliant blue on a creamy white crackle 


ground. Yung-chéng period (1723-1735). 
Height, 434 inches. 


90—Smatu Ovirorm Jar 
Mounted as a ewer. Flowering shrubs and birds in 


two shades of opaque blue. K’ang-hsi period (1662- 


1722). 
Height, 8 inches. 


91—Ovirorm Tra Jar 


Ladies engaged in a game of Go, painted in brilliant 
underglaze blue. K’ang-hsi period (1662-1722). 
Height, 4 inches. 


92—OvirorMm JAR WITH COVER 


Long Elizas, palm and shrubs in brilliant underglaze 


blue. K’ang-hsi period (1662-1722). 
Height, 51% inches. 


93—SLENDER OvirormM JAR 


Raised panels of lotus-petal shape, containing Long 
Elizas and flowering shrub in opaque underglaze blue. 
Height, 5 inches. 


94—SmaLuL Ovirorm JAR 
Sprays of peonies in underglaze blue of a pale shade. 
K’ang-hsi period (1662-1722). 
Height, 4 inches. 
95—SMaALyL PLaTEe 


Deep form. Weeping willow, tree peonies and border 
designs in cobalt blue. 


Diameter, 6144 inches. 


96—Pair Bowts 


Flowering sprays and lozenge pattern in underglaze 
blue on a fine white ground. 
Diameter, 534, inches. 
97—OcrTaconaL Bow. 
With swinging handle of Dutch workmanship. Deco- 
ration of garden scenes with figures of ladies and 
diaper borders in brilliant underglaze blue. K’ang-hsi 


period (1662-1722). 
Height, 3 inches. 


98—LareE Riczr Grain Bow. 
Pierced band of lace pattern filled in with translucent 
enamel. Borders of sceptre heads and gadroons in 
brilliant blue. Ch’ien-lung period (1736-1795). 
Diameter, 7 inches. 
99—Smatut Ovirorm Jar wITH CovER 
Long Elizas, palm and flowering shrubs in brilliant 
underglaze blue. K’ang-hsi period (1662-1722). 
Height, 534 inches. 
100—Pair Sma Ovirorm Jars 
Magnolia tree and border designs in two shades of 
underglaze blue. K’ang-hsi period (1662-1722). 
Height, 414 inches. 
101—Smatu Gourp-sHAPE BorrLe 
Floral scrolls and sprays in underglaze blue of brilliant 
opaque quality. K’ang-hsi period (1662-1722). 
Height, 5% inches. 


102—Taut Hexaconat VAsE 


With trumpet neck. Gourd vine in bearing and floral 
sprays in opaque underglaze blue. K’ang-hsi period 


(1662-1722). 
Height, 5%, inches. 


103—Smauut TRUMPET-SHAPE VASE 


Long Elizas, children and palmettes in brilliant blue. 
Yung-chéng period (1723-1735). 
. Height, 5 inches. 


104—Smatyt BEAKER 
Floral designs in opaque cobalt blue. K’ang-hsi period 


(1662-1722). 
Height, 434, inches. 


105—Smatt Ovirorm Botrie 
Chinese historical subject in brilliant underglaze blue. 
K’ang-hsi period (1662-1722). Mounted in metal of 


Dutch workmanship. 
Height, 6%, inches. 


106—Smarzu Jar 
Inverted pear-shape. Magnolia in bloom, tree peonies 
and birds in two shades of underglaze blue. K’ang-hsi 


period (1662-1722). 
Height, 5%, inches. 


107—Smatt Gourp-sHaPe Botte 
Hundred Antiques and other symbols in_ brilliant 
opaque blue. Metal mounts of Dutch workmanship. 
K’ang-hsi period (1662-1722). 


Height, 5 inches. 


108—Smaxu Ovirorm Jar 
Pheasant, rock and flowering shrub in cobalt blue of 
opaque quality. K’ang-hsi period (1662-1722). 
Height, 51% inches. 


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109—Smatu Rice Grain Vase 
Oviform bottle-shape, with spreading mouth. Pierced 
bands of rice-grain patterns filled in with translucent 
enamel. Borders of sceptre heads and floral scrolls 
in pale blue. Ch’ien-lung period (1736-1795). 
Height, 414 inches. 


110—Smatu Ovirorm JAR WITH COVER 


Spiral bands of floral designs in brilliant underglaze 


blue. K’ang-hsi period (1662-1722). 
Height, 5%, inches. 


111—Smayu Ovirorm Jar witH Cover 
Panels of flowering shrubs in opaque cobalt blue. 
K’ang-hsi period. 
Height, 61, inches. 


112—Rosrt WatTER SPRINKLER 


Sceptre-head panels and other designs in Persian style 
in briliant cobalt blue and in reserve. K’ang-hsi 
period (1662-1722). 

Height, 7 inches. 


118—Rost WatTER SPRINKLER 


Metallic brown glaze. Three chrysanthemum flowers 
outlined on a ground of brilliant blue. K’ang-hsi 
period (1662-1722). 

Height, 7 inches. 


114—Smatzt Ovirorm JAR 


Mounted in silver. Decoration of flowering shrubs 
and gadroons in brilliant underglaze blue. K’ang-hsi 
period (1662-1722). 
Height, 7 inches. 


115—Rosr WatTeER SPRINKLER 


Bands of sceptre heads and lotus scrolls in brilliant 
blue and reserve. K’ang-hsi period (1662-1722). 
Height, 6% inches. 


116—Parr Rost Water SPRINKLERS 
Bands of sceptre heads and lotus scrolls in brilliant 
blue and reserve. K’ang-hsi period (1662-1722). 
Height, 71, inches 
117—Rosrt Water SPRINKLER 
Panels of flowering shrubs and other designs in under- 
glaze blue. K’ang-hsi period (1662-1722). 
Height, 7 inches. 


118—Parr Rost Water SPRINKLERS 


Panels of sceptre heads in brilliant blue and lotus 
scrolls in reserve. K’ang-hsi period (1662-1722). 
Height, 734 inches. 
119—Ovirorm Tra Jar 
Garden scene with Long Elizas, rock and palms in 
briliant opaque blue. K’ang-hsi period (1662-1722). 
: Height, 5 inches. 
120—Ovirorm Jar 
Sceptre-head panels. Scrolls and border designs in 
Persian style painted in two shades of underglaze blue. 
K’ang-hsi period (1662-1722). 
Height, 5%, inches. 
121—Pair Ovirorm Jars 


On tall foot and raised upright panels. Decoration 
of flowering shrubs in brilliant opaque blue, and sym- 
bols around the foot. K’ang-hsi period (1662-1722). 

Height, 614 inches. 


122—Parr Ovirorm Jars 
Trees, rocks and grasses in underglaze blue of brilliant 
opaque quality. K’ang-hsi period (1662-1722). 
Height, 534 inches. 


123—CyLinpRICAL JAR 
With bulging body and wide mouth. Prunus in bloom 
and tree peonies in two shades of brilliant opaque blue. 


. K’ang-hsi period (1662-1722). 
Height, 514, inches. 


124—Rosrt WatTER SPRINKLER 


Bands of palmettes and sceptre heads in blue, and 
floral scrolls ‘in reserve. K’ang-hsi period (1662- 
1722). 
Height, 8 inches. 
125—Ga.LirotT 


Upright panels, filled with flowering shrubs in under- 

glaze blue of brilliant opaque quality. K’ang-hsi 

period (1662-1722). : 
Height, 634, inches. 

126—Parr CrtinpricaLt Borries 


Trumpet-shaped necks, which are capped with silver 
gilt. Flower baskets, sprays and scroll designs in 
underglaze blue of brilliant opaque quality. Round 
the neck is a wide band of metallic brown. K’ang-hsi 
period (1662-1722). 
Height, 814 inches. 
127—Tatu Ovirorm Jar 


With hat-shaped cover. Rocky cliffs and river view in 
underglaze blue. K’ang-hsi period (1662-1722). 
Height, 91%, inches. 
128—T atu Ovirorm Jar 


With hat-shaped cover. Prunus in blossom, tree pe- 
onies and pheasant on rock in brilliant opaque blue. 
K’ang-hsi period (1662-1722). 
Height, 9 inches. 
129—Smatu Ovirorm Jar 


Landscape and river views, in underglaze blue and out- 
lined over the glaze in gilding. Ch’ien-lung period 
(1736-1795). | 

Height, 8 inches. 


130—Ovirorm Jar 
Prunus in blossom, tree peonies, pheasant and other 
designs in two shades of underglaze blue. K’ang-hsi 


period (1662-1722). 
Height, 7 inches. 


181—Tatut Jar - 


Lotus design, with two gilt dragon handles on neck; 
flowering shrubs in underglaze blue. K’ang-hsi period 
(1662-1722). 

Height, 734, inches. 


132—Pair Ovirorm Jar 
Sprays of flowers and twigs of fruits in two shades of 
underglaze blue. K’ang-hsi period (1662-1722). 
Height, 634 inches. 


133—Smautu CLuB-sHAPED VASE 


Garden scene with figures of a Chinese lady and a 

Dignitary painted in underglaze blue of brilliant 

opaque quality. K’ang-hsi period (1662-1722). 
Height, 8 inches. 


134—Pair Smart Beakers 
Mountainous landscape and river view in brilliant un- 
derglaze blue. K’ang-hsi period (1662-1722). 
Height, 7% inches. 


135—SMALL BEAKER 


River view, landscape and mountains in cobalt blue. 
K’ang-hsi period (1662-1722). 
Height, 7% inches. 


1386—Pownprr Buve Borris 


Mounted in metal of Louis XVI style. Reserve panels 
of pomegranate shape, containing flowers, landscape 
and symbols in underglaze blue of fine quality. K’ang- 
hsi period (1662-1722). 

Height, 1014 inches. 


137—Ovirorm Jar wiTtH Cover 
Palmettes, sceptre heads and scrolls in old Persian 
style, pencilled in fine blue on a brilliant white ground. 
K’ang-hsi period (1662-1722). 
Height, 81/, inches. 


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1388—BorTrTLeE-sHAPED VASE 


With metal collar. Globular corrugated body, with 
decoration of floral sprays and band of sceptre heads 
in brilliant underglaze blue. K’ang-hsi period (1662- 
1722). 
Height, 7%, inches. 
139—Pair or Ovirorm Jars 


Grapevine in bearing in two shades of opaque blue. 
K’ang-hsi period (1662-1722). 
Height, 81% inches. 
140—QvuADRILATERAL VASE 


With two gilt dragon handles on neck. Flowers of 
the four seasons in two shades of brilliant underglaze 
blue. Raised borders of lotus petals. K’ang-hsi period 
(1662-1772). 
Height, 914 inches. 
141—QuvADRILATERAL VASE 


With trumpet-shaped neck. Flowering shrubs and 
border designs in underglaze blue of brilliant quality. 
K’ang-hsi period (1662-1722). 
Height, 93, inches. 
142—BorriLe-sHAPED VASE 


With silver neck and stopper. The Hundred Antiques 
and the Eight Precious Things, and flower basket in 
underglaze blue of brilliant quality. Borders and 
bands of diaper and sceptre heads. K’ang-hsi period 
(1662-1722). 
Height, 1134 inches. 
143—Ewer 


Decorated in brilliant underglaze blue in Persian style 
and mounted in metal. K’ang-hsi period (1662-1722). 
Height, 914 inches. 
144—Ovirorm JAR 
Landscape and river scenery in brilliant cobalt blue. 
K’ang-hsi period (1662-1722). 
Height, 914 inches. 


145—Govurp-sHAPE BoTTLE 


Scale patterns in two shades of opaque blue. K’ang- 
hsi period (1662-1722). 
Height, 7 inches. 


146—Pair Ovirorm Jars 


Grapevine in bearing in two shades of opaque under- 
glaze blue. K’ang-hsi period (1662-1722). 
Height, 814 inches. 


147—Pair BEAKER-SHAPED VASES 


To match the preceding. 
Height, 914, inches. 


148—Patir Ovirorm Jars 


Floral sprays and bands of sceptre heads and gad- 
roons in two shades of underglaze blue. K’ang-hsi 
period (1662-1722). 
Height, 9 inches. 
149—Ewer 


Persian-shape and style of decoration which is executed 
in two shades of underglaze blue. Mounted in silver. 
Ch’ien-lung period (1736-1795). 
Height, 121%, inches. 
150—CyuinpricaL Vase 


Landscape and figures of dignitaries crudely executed 
in cobalt blue. Mung period. 
Height, 914 inches. 
151—Cyuinpricau Vase 


Landscape and ceremonial gathering crudely executed 


in underglaze blue. Ming period. 
Height, 11 inches. 


152—GuoBuLar Jar 
Dragons amid cloud forms and fire emblems, pursuing 
the pearl of omnipotence, and Buddhistic symbols. 
Painted in brilliant underglaze blue. Ch’ien-lung 
period (1736-1795). 


Height, 714 inches; diameter, 7 inches. 


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i ' iy 


153—QUADRILATERAL VASE 
Trigram, stork, the symbol of longevity, and cloud 
forms in dark cobalt blue. Ch’ien-lung period (1736- 
1795). 
Height, 10% inches. 
154—HawrTHorn Jar 


Gourd shape. Detached blossoms in reserve on an 
opaque blue ground, which is marked with irregular 
white lines to represent cracking ice. Ch’ien-lung 
period (1736-1795). 
Height, 934 inches. 
155—Ovirorm Vase : 
With wide mouth. Two dragon-head handles in relief 
on shoulder. In four reserve panels are shou charac- 
ters in blue, and on the body are hawthorn blossoms 
and bamboo leaves in reserve on an opaque blue 
ground, which is marked with white lines to represent 
cracking ice. Around the neck is a wide panel of 
palmettes. Ch’ien-lung period (1736-1795). 
Height, 12%, inches; diameter, 81, inches. 


156—Borr.Le-sHaPeD VASE 
Bold dragon, amid cloud forms, in brilliant mazarine 
blue. Ch’ien-lung period (1736-1795). 
Height, 1434 inches. 


157—Hawtruorn Temeie Jar 


With hat-shaped cover. Branches of mei blossoms in 
reserve on an opaque blue ground, marked to rep- 
resent cracking ice. K’ang-hsi period (1662-1722). 


Height, 17 inches; diameter, 10 inches. 


158—Larer Ovirorm VASE 


With broad mouth and dragon-head handles. On the 
body are hawthorn blossoms in white reserve on an 
opaque blue ground marked with white lines to repre- 
sent cracking ice. Ch’ien-lung period (1736-1795). 


Height, 1434 inches; diameter, 10 inches. 


159—Lareer Piterim Botrie or Futt Moon Vase 
Figures of the Immortal Genii and their attendants, 
decorative borders of butterflies and floral scrolls 
painted in underglaze blue of brilliant opaque quality. 
On the neck and shoulder are two handles of sceptre- 

head design. Ch’ien-lung period (1736-1795). 
Height, 1914 inches; diameter, 1334 inches. 


160—Ptate 2 
Floral decoration in old Persian style in underglaze 
blue. K’ang-shi period (1662-1722). Repaired. 


Diameter, 81% inches. 


161—PuatTe 


Semi-eggshell. ‘Tree peonies and rocks in brilliant un- 
derglaze blue. Border of gadroons in low relief. 
K’ang-hsi period (1662-1722). 


Diameter, 81, inches. 


162—HawrTrnorn Priate 


Branches and twigs of met blossom in reserve on an 
opaque blue ground. K’ang-hsi period (1662-1722). 


Diameter, 9 inches. 


163—Pair Larce Piates 
Deep form. Tree peonies in brilliant underglaze blue, 
edged with a metallic brown edge. 


Diameter, 1034 and 11 inches, respectively. 


THAT nce PLATE 


Deep form. Floral designs and border patterns in two 
shades of underglaze blue in old Persian style. 
Diameter, 131% inches. 


165—Larce PLATE 


Sonorous thin porcelain. The Hundred Antiques, 

flowers and the Eight Precious Things painted in 

opaque underglaze blue on a fine white ground. 
Diameter, 14 inches. 


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ac els by eye amit f Tatra) cat Sra et Me os 


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SNUFF BOTTLES AND CABINET OBJECTS 


166—Two Snurr Botries 


a. White glass. Cameo cut. Decoration of fish and 
waves in blue. 


b. White glass. Cameo cut. Decoration of fish, waves 
and leaf sprays in ruby-red. 


167—Two Snurr BorrieEs 


a. Pale translucent agate, slightly marked with brown. 
Silver collar. 


b. Agate. Pale brown, vase-shaped. Etched decora- 
_ tion. Handles on neck. 


168—Two Snurr Bortries 


a. Milk white agate, with bird and branch carved in 
relief in the brown matrix. 


b. White glass, with lotus and aquatic birds modelled 


in relief in green. 


169—Two Snurr Borrues 


Composition in imitation of variegated stone and agate, 
one with fish and lotus leaf carved in relief. 


170—Snurr Borrie 


Outer casing pierced and carved in relief with kylins 
and brocaded balls. Glazed in imitation of cinnabar 
lacquer. 


171—SnourrF Botte 
Imperial yellow glass. 


172—Rock Crystaut SnuFrr Bottie 


Butterflies and shou character carved in low relief. 


173—Guass SnuFFr Botrie 


In imitation of amber and with an intricate decoration 
on the inner surface. 


174—Smatt SnurrF Borris 
Rock crystal. Amethyst stopper. 


175—Two Porcewain Snurr Botries 


One decorated with miniature figures, the other with 
kylins in relief in coral-red and gilding. 


176—Larce Snurr Borris 


Camphor glass, with dragon, kylin and other designs 
in relief in sapphire blue. 


177—Javr Snurr Botrriue 


Gray and brown texture. 


178—Rocx Crystat SnurF Botrriue 


Unusual decoration, copied from an old coin and done 
in relief. 


179—Sortr Pastrt Snurr Botrie 


Outer casing pierced and carved in relief, with kylins 
sporting with brocaded balls. 


180—Two Snurr Botries 


One camphor glass, the other porcelain of the Yung- 
chéng period (1723-1735). Enamelled with a frog- 
skin glaze. 


181—Two Snurr Borriues 


One soft paste with landscape decoration, the other 
gourd shape decorated in cobalt blue. 


182—Two CyuinpricaL SnurFr BotTries 
Of the Ch’ien-lung period (1736-1795). One deco- 


rated with dragon and cloud forms in brilliant enamel 
colors, the other with miniature figures. 


188—Sorr Paste Snurr Borrre 
Crest and symbols worked in relief. 


184—PorcrELAIN SNuFF BOTTLE 


Numerous figures of sages and deities modelled in re- 
lief and decorated in brilliant enamel colors. 


185—-Brown CRACKLE SNUFF BoTTLE 
Figures in underglaze blue. 


186—Sorr Paste Snurr Borris 
Pierced decoration of bats and leafy scrolls. 


187—Porcexain SNuFF BottTLe 
Panel decoration of animals. Clvien-lung period 


(1736-1795). 


188—PorcELAIN SnNuFF BoTrLEeE 


Garden scene and richly costumed figures painted in 
enamel colors. 


189—Twiw Snurr BotTriue 


A ceremonial gathering modelled in relief and deco- 
rated in brilliant enamel colors on a gold background. 


190-—Larcr Porcetain Snurr Botrie 
Orange-yellow glaze, with relief decoration of fishes 
and shells, which are enamelled in sapphire-blue and 
other colors. 


191—CyuinprRiIcAL SNu¥F¥F BotTriE 


Coated with an iron-rust glaze. Ch’ien-lung period 


(1736-1795). 


192—MrniaToure SnurF Borrie 
Briliant mirror-black glaze. Ch’ien-lung period 


(1736-1795). 


193—QvuADRANGULAR SnNuFF Borris 
Mustard-yellow crackle glaze. 


194—-Snurr Borris 


Iron-rust glaze, archaic designs. Mounted in relief. 


Ch’ien-lung period (1736-1795). 


195—Ovirorm Snurr Borris 


Mustard-yellow crackle glaze. Ch’ien-lung period 
(1736-1795). 


196—Cyuinpricat Snurr Borrie 


Camellia-leaf green glaze. Ch’ien-lung period (1736- 
1795). 


197—Snurr Borrie 


Miniature galipot shape. Iron-rust glaze of fine 
quality. Ch’ien-lung period (1736-1795). 


198—Ovirorm SnurFr BotTrie 


Camellia-leaf green crackle glaze. Ch’ien-lung period 


(1736-1795). 


199—GourpD-sHAPE SNUFF BorTTLE 


Dark brown glaze of brilliant quality. Ch’ien-lung 
period (1736-1795). 


2900—Ovirorm SnurFr BorTtie 


Mustard-yellow crackle glaze. Ch’ien-lung period 
(1736-1795). 


201—Ovirorm SnurF Borrie 
Monochrome glaze of the sang-de-beuf type. 


202—CyY.LInDRICAL SNUFF BotTtTLE 


Starch-blue crackle glaze. Ch’ien-lung period (1736- 
1795). 


203—Snourr Borrie 
Flattened oviform. Camellia-leaf crackle glaze. 


204—CYLINDRICAL SNUFF BoTTLE 
Mustard-yellow crackle glaze. 


205—Mriniature Wine Cup 


Kaga porcelain; garden scene and figures on the outer 
surface, and a poem intricately executed on the inner 
surface. 


Q906—MIun1AaTuRE Fan-sHAPED Box 


Kaga porcelain. Dragon in gilding on a coral-red 
ground. 


207—WInE Cur 


Canton enamel; decorated in blue on a cream-white 
ground. 


208—SEaAL 
Carved rock crystal. 


209—Rock CrysTaL SPHERE 


Clear texture. 
Diameter, 134 inches. 


ict te oe) eer a 


210—Tuvums Rine 
Old Raku pottery. Mottled green glaze. Seal mark. 


211—Four Miniature WINE Cups 
Clouded white jade. 


212—Cupr anv SAUCER 
Peach shape. Old Canton painted enamel. 


913—Pair MINIATURE Way VASES 
Old Chinese cloissonné enamel. 


214—MinratTureE STAND 
Turquoise-blue glaze. Dragon carved in relief. 


215—Carvep AMETHYST ORNAMENT 
Shell and wave design. Teakwood stand. 


216—Wrirter’s Water RECEPTACLE 
Carved rock crystal toad. Tinted ivory stand. 


217—Four Rock Crystau Spoons 


Enamelled silver handles. 


218—Rock Crystau VAsE 
Fashioned after an ancient bronze. 
Height, 5%, inches. 
2919—Whuitr AGATE VAsE 


Shape of a tree trunk, with branches and fungus carved 
in relief in pink matrix. 
Height, 5 inches. 
220—Rocx Crystau Bau 
With bronze stand. Mercury. 


Diameter, 2 inches. 


921— JAPANESE Rock CrystaLt Batt 
With teakwood stand. 


Diameter, 3 inches. 


222—_ JAPANESE Rock Crystat Batu 
With bronze stand. Three storks. 


Diameter, 34%, inches. 


CHINESE SINGLE COLOR PORCELAINS 


223—MINIATURE PEAR-SHAPED VASE 
Coated with a mirror-black glaze of brilliant quality. 
Ch’ien-lung period (1736-1795). 


224—TRIPLE GOURD-SHAPED VASE 
Enamelled with a rose-pink glaze. Ch’ien-lung period 
(1736-1795). 


225—MINIATURE QUADRILATERAL VASE 
Coated with a brilliant white glaze and decorated with 
the Eight Trigrams worked in relief 


226—Smatyt Ovirorm VasE : 
Enamelled with a peacock-blue glaze. Ch’ien-lung 


period (1736-1795). 
Height, 414, inches. 


227—SMALL BoTTLE-sHAPED VASE 
Coated with a mustard-yellow minutely crackled glaze. 


Ch’ien-lung period (1736-1795). 
Height, 41, inches. 
228—Sma Lu BotrLe-sHAPED VASE 
Coated with a minutely crackled glaze of cucumber- 


green. Ch’ien-lung period (1736-1795). 
Height, 4 inches. 


BT a BONS < at Conny ak eta es) Sen ean AW eS 
FLA PAA ee BoC ee 7 ed ee 


999—SmatLuL BorrLE-sHAPED VASE 


Enamelled with a deep violet glaze of brilliant quality. 
Ch’ien-lung period (1736-1795). 
Height, 51, inches. 
230—Borrie-sHaPeD VASE 
Covered with a black glaze which has a metallic lustre, 
and a slight decoration in gilding. Ch’ien-lung period 
(1736-1795). : 
Height, 5 inches. 
231—HexaconaL Vase 


With dragon handles on neck. Pale turquoise-blue 
glaze. 
Height, 5%, inches. 


232—Ovirorm JAR 


Sung pottery of dense texture. Coated with an ivory- 
white glaze. 
Height, 334 inches. 


233—Whraiter’s Water RECEPTACLE 
Enamelled with a cucumber-green glaze. Ch’ien-lung 
period (1736-1795). Teakwood stand. 
934—PEAR-SHAPED VASE 


Enamelled with a robin’s-egg soufflé glaze. Ch’ien- 
lung period (1736-1795). 
Height, 51% inches. 
235—PEaR-SHAPED VASE 
Brilliant brown and tea-dust soufflé glaze. Ch’ien-lung 
period (1736-1795). 
Height, 5 inches. 
236—QUADRILATERAL VASE 


Enamelled with a camellia-leaf green crackle glaze of 
brilliant iridescent quality. ! 
Height, 514 inches. 
237—Ovirorm Vase 


Coated with a turquoise-blue glaze of brilliant quality. 
Height, 5 inches. 


ite I ia ie Mi Se ly) 


238—Writer’s WatTEeR RECEPTACLE 
Low circular shape, mottled red glaze of sang-de-bauf 
type. Ch’ien-lung period (1736-1795). 


Diameter, 41, inches. 


239—Smatu IncENsE BuRNER 
Low circular shape, with rudimentary handles, enam- 
elled with an iron-rust glaze of fine quality. K’ang-hsi 
period (1662-1722). Has carved teakwood stand and 


cover. 


240—Ovirorm VasE | 
Coated with a robin’s-egg blue glaze, which is minutely 
crackled throughout. Ch’ien-lung period (1736- 


1795). 
Height, 5 inches. 


241—BorrLe-sHAPED VASE 
Mottled brown glaze. Applied over a boldly crackled 


surface. Ch’ien-lung period (1736-1795). 
Height, 414 inches. 


242—BorTrTLE-sHAPED VASE 
Coated with a peacock-blue glaze. Ch’ien-lung period 


(1736-1795). 
Height, 6 inches. 


243—BoTTLE-SHAPED VASE 
With trumpet neck, enamelled with a powder-blue glaze 
of opaque quality, over which is a slight decoration 
in gilding. Yung-chéng period (1723-1735). 
Height, 534, inches. 


244—SMaLu IncENsE BuRNER 
Dense porcelain of the K’ang-hsi period (1662-1722). 
Starch-blue crackle glaze. Carved teakwood stand and 
cover. 


245—PEAR-SHAPED VASE 
Coated with an olive-green and mottled brown glaze. 
Ch’ien-lung period (1736-1795). 
Height, 5% inches. 


246—GouRD-sHAPED VASE 
Dense porcelain of the K’ang-hsi period (1662-1722). 
Coated with a rice-color glaze, which is boldly crackled 


throughout. 
Height, 6 inches. 


247—BorTrrLED-SHAPED VASE 


Turquoise-blue glaze of brilliant opaque quality. 
Yung-chéng period (1723-1735). 
Height, 51% inches. 
248—Ovirorm VaAsE 
Enamelled with a deep violet-color glaze of brillant 
quality. Ch’ien-lung period (1736-1795). 
Height, 61% inches. 
249—Ovirorm Vase 


With trumpet-shape neck. Covered with a minutely 
crackled glaze of camellia-leaf green. Ch’ien-lung 
period (1736-1795). 

Height, 6 inches. 


250—PEAR-SHAPED VASE 


Enamelled with a tea-dust glaze. Yung-chéng period 


(1723-1735). 
Height, 434 inches. 


951—BoTrriE-sHAPED VASE 


Coated with a mottled glaze of turquoise-blue color. 
Ch’ien-lung period (1736-1795). 
Height, 64%, inches. 


252—PEAR-SHAPED VASE 


Enamelled with a pink-coral glaze to resemble the 
coloring of a conch shell. Yung-chéng period (1723- 
1735). 

Height, 5%, inches. 


953—Ovirorm VASE 


Coated with a tea-dust glaze. Ch’ien-lung period 


(1736-1795). : 
Height, 51, inches. 


954—BEAKER-SHAPE VASE 


Globular body, with broad mouth. Enamelled with a 
brilliant red glaze. Ch’ien-lung period (1736-1795). 
Height, 4 inckes. 


255—OctTaconaL GourD-sHAPE VASE 
Coated with a pellucid celadon glaze, and decorated 
with floral scrolls and cloud forms, which are modelled 
in low relief in the paste. Ch’ien-lung period (1736- 
1795). 7 


Height, 7 inches. 
256—Ovirorm VASE 
Coral-red glaze with a slight decoration in yellow. 
Height, 6%, inches. 
257—BEAKER-SHAPE VASE 
Globular body, with broad mouth. Outer surface 
coated with a sang-de-poulet glaze, which has a pear- 
skin surface. Ch’ien-lung period (1736-1795). 
Height, 4 inches. 
258—Ovirorm VASE | 


Robin’s-egg-blue glaze. 
Height, 6 inches. 


259—QUADRILATERAL VASE 


Enamelled with a_ clair-de-lune glaze of brilliant 
quality. 
Height, 7% inches. 


260—GLoOBULAR VASE 


Coated with a brilliant red glaze, which is streaked 
with purple. Ch’ien-lung period (1736-1795). 
Height, 5, inches. 


961—Funcus-SHAPED VASE 


Pale green glaze, with dragon in relief in coral-red and 
fungus in purple. Ch’ien-lung period (1736-1795). 
Height, 534 inches. 
262—Trivop Incense BuRNER 


Peacock-blue crackle glaze. Ch’ien-lung period (1736- 
1795). 
Height, 6-inches. 


963—Hancine VAsE 


Oviform, with cap shape cover. Coated with a pale 
celadon glaze of opaque quality. Yung-chéng period 
(1723-1735). Has carved wood stand. 

Height, 6% inches. 


264—BorrieE-sHAPE VASE 
With bulbous mouth. White glaze, with decoration of 
dragon in pale blue. K’ang-hsi period (1662-1722). 
Height, 81% inches. 
265—CyuinpricaL VASE 
With dragon-head handles, ivory-white glaze. K’ang- 
hsi period (1662-1722). 
Height, 8% inches. 
266—Ovirorm Vase 
With spreading base and neck. Coated with a flambé 
glaze of brilliant red and purple. Mounted in gilt 
bronze. Ch’ien-lung period (1736-1795). 
Height, 9 inches. 
267—SEMI-EGG-sHELL Bow. 
Enamelled with an imperial yellow glaze of iridescent 
quality of Yung-chéng period (1723-1735). 
Diameter, 744, inches. 
268—Prar-sHAPED VASE 


Invested with a rose soufflé glaze. Ch’ien-lung period 


(1736-1795). 
Height, 8 inches. 


269—GaLIPOT 
Dense pottery of the Ming period. Coated with a 
thick running glaze of a mottled brown and clair-de- 


lune. 
Height, 7 inches. 


270—GovurD-sHAPED VASE 
Dense stoneware, coated with a mottled gray and blue 


glaze of opaque quality. 
Height, 7%, inches. 


271—PeEar-sHAPED VASE 
Ming pottery. Coated with a mottled blue and clair- 


de-lune glaze. 
Height, 10 inches. 


272—CyYLiInpDRICAL VASE 
Ivory-white porcelain. Coated with a brillant white 
glaze and ornamented with an etched band of Greek 


fret and two dragon heads. 
Height, 934 inches. 


273—BorrLe-sHAPED VASE 
Enamelled with a monochrome glaze of the peach 
bloom type. Around the neck is an engraved band. 


Ch’ien-lung period (1736-1795). 
Height, 1134 inches. 


274—QUADRILATERAL Haneine VASE 


Coated with a pale celadon glaze over a boldly crackled 
surface. Ch’ien-lung period (1736-1795). 
Height, 934 inches. 


975—Ovirorm VASE 


Invested with a rice-color glaze, which is minutely 
crackled throughout. K’ang-hsi period (1662-1722). 
Height, 1114 inches. 


276—BoTriLe-sHAPED VASE 


Invested with an orange-yellow glaze and decorated 
with two imperial dragons amid cloud forms, which are 
etched in the paste and enamelled in green and purple. 
Ch’ien-lung period (1736-1795). 

Height, 12 inches. 


277—BEAKER-SHAPED VASE 


Coated with a turquoise-blue glaze. Yung-chéng 


period (1723-1735). 
, - Height, 934 inches. 


278—Ovirorm VaAsE 


Enamelled with a brilliant white crackled glaze. Dec- 


oration etched in the paste. 
Height, 111, inches. 


279—BorrLeE-sHAPED VASE 
Invested with a monochrome glaze of turquoise-blue of 
opaque quality. Yung-chéng period (1723-1735). 
Height, 13 inches. 


280—PeraR-SsHAPED VASE 
Dense porcelain of the Ch’ien-lung period (1736- 
1795). Coated with a thick running glaze of mottled 


red and purple. 
| Height, 1114 inches. 


281—PraR-sHAPED VASE 
With dragon-head handles on shoulder. Invested with 
a turquoise-blue glaze applied over a surface marked 
with fish-roe crackle. Ch’ien-lung period (1736- 


1795). 
Height, 13%, inches. 


282—PraR-SHAPED VASE 


Enamelled with a camellia-leaf glaze. Ch’ien-lung 
period (1736-1795). Neck restored. 
Height, 1434 inches. 


283—BEAKER-SHAPED VASE | 
Enamelled with an: opaque sapphire-blue glaze, over 
which is a decoration in gilding. Yung-chéng period 
(1723-1735). 


Height, 1414 inches. © 


284—OvirorM Jar 
Invested with a monochrome glaze known as iron-rust, 


of fine quality. K’ang-hsi period (1662-1722). 
Height, 1314 inches. 


985—Larcr Ovirorm VASE 


With dragon-head and ring handles. Dense porcelain 
of the Ch’ien-lung period (1736-1795). Invested with 
a pale celadon glaze which has been applied over a 


profusely crackled surface. 
Height, 1514 inches. 


CHINESE DECORATED PORCELAINS 


286—SMALL OvirormM JAR 


Passion flowers and shou characters in enamel colors 


and gilding on a pale blue ground. Ch’ien-lung period 


(1736-1795). 


287—F AMILLE-ROSE CuP AND SAUCER 


Floral sprays and baskets in brilliant enamel colors. 


2988—EcGcsHELL SAUCER 


Chinese lady and children watching a cock fight. 
Finely painted in enamel colors and gilding. Yung- 
chéng period (1723-1735). 


2989—Smauu PEAR-SHAPED VASE 


Coated with a tea-dust glaze, over which is a decoration 
in enamel colors of kylins sporting with a brocade ball. 
Ch’ien-lung period (1736-1795). 

Height, 514 inches. 


290—Smatu Ovirorm Jar 
Landscape and river view in underglaze blue and coral- 
red. Yung-chéng period (1723-1735). 
; Height, 5%, inches. 


291—Trapot anp Tray 


Octagonal shape. Decoration of lotus flowers and 
scrolls in enamel colors in black panels of petal shape. 


With stand. 


$96-_Ovironm JAR 


Famille-rose; peony sprays and sceptre-head panels 
in underglaze blue, rose-red and gilding. Yung-chéng 
period (1723-1735). 

Height, 6 inches. 


293—Friower Disu 


Irregular shape, dragons and floral scrolls upon an 
imperial yellow ground. Ch’ien-lung period (1736- 
1795). 


294—_QUADRILATERAL Mine Jar 


Mythological monsters and scroll designs in the bril- 
liant enamel colors of the famille-verte. Chia Ch’ing 
period (1796-1820). | 
Height, 434, inches. 


295—Ovirorm FIvE-COLORED JAR 


Pheenixes and peonies in brilliant red, green, yellow, 


purple and black. 


534 inches. 


296—Mine Ovirorm Jar 


Pheenixes, peonies and leafy scrolls in brilliant enamel 


colors of the famille-verte. 
53, inches. 


2997—Roser-Back EGcsHEeLL PLATE 


Chinese lady, children, various ornaments and border 
designs exquisitely painted in enamel colors enriched 
by gilding. Yung-chéng period (1723-1735). Re- 
paired. 


Diameter, 81% inches. 


298—EccsHeLt PLATE 
Garden scene, in which ladies are bathing a child, 
painted in enamel colors of the famille-rose. Yung- 
chéng period (1723-1735). Imperfect. 


Diameter, 81% inches. 


299—OcTAGONAL PLATE 


Chinese garden and domestic scene painted in enamel 
colors, and border design in underglaze blue. Ch’ien- 


lung period (1736-1795). 


Diameter, 9 inches. 


300—FamMILLE-ROSE PLATE 
Peony sprays and butterflies painted in brilliant enamel 
colors and gilding. Yung-chéng period (1723-1735). 


Diameter, 9 inches. 


301—CwIEN-LUNG PLATE 


Deep rose-color glaze, with reserved panels of a boat- 
ing scene, landscape and other designs painted in 


enamel colors. 
Diameter, 9 inches. 


302—FAMILLE-ROSE PLATE 


Garden scene with tree peonies and border designs 
painted in richly combined enamel colors. Yung-chéng 
period (1723-1735). 


Diameter, 9 inches. 


303—FAMILLE-ROSE PLATE 
Branches of tree peonies, wild geese and border designs 
finely painted in brilliant enamel colors and gilding. 
Yung-chéng period (1723-1735). 


Diameter, 934 inches. — 


304—O.xp Canton (Lowestort) Puate 


Basket of flowers and floral festoons painted in bril- 


liant enamel colors. 
Diameter, 9 inches. 


305—OLp Canton PLATE 
Floral design in underglaze blue and enamel colors. 
Diameter, 9 inches. 


3806—FAMILLE-ROSE PLATE 


Garden scene and rich border design painted in bril- 


liant enamel colors. Repaired. 
Diameter, 914 inches. 


307—Mine PLATE 


Five-clawed dragons, amid cloud forms, pursuing the 
sacred pearl, painted in Mohammedan blue and bril- 
lant tones of red, yellow and green enamels. Under- 
border of peony scrolls. Wan-li period (1573-1619). 


Diameter, 11 inches. 


308—Mine Puatre 


Opaque green glaze, with decoration of deer, pine tree, 


dragon and cloud forms in black. 
Diameter, 734 inches. 


309—QUADRILATERAL VASE 


With trumpet neck, garden scenes, figures, dragons 
and pheenixes finely painted in underglaze blue and 
briluant enamel colors. Has mark of Chéng-hua 


(1465-1487). 
' Height, 8% inches. 


310—Parr BotrrTrLE-sHAPED VASES 


With bulbous neck. Passion flowers, leafy scrolls and 
symbols painted in enamel colors on an imperial yel- 
low ground. Around the foot are raised bands of 
petal shape, which are decorated with figures’ and 
symbols in brilliant enamel colors. Ch’ien-lung period 


(1736-1795). 
Height, 9 inches. 


311—HexaconaL Vase 
Tall slender shape, with indented corners. Decoration 
of peach and pomegranate in brilliant enamel colors 
on a rose-pink ground. Yung-chéng period (1723- 


1735). 
Height, 14 inches. 


312—Prar-sHAPED VASE 
Elephant-head handles. Invested with a celadon glaze 
of pellucid quality and decorated with raised bands of 
floral scroll designs and diaper, in peach bloom tint 
and underglaze blue. Ch’ien-lung period (1736-1795). 
Height, 11 inches. 


313—Ovirorm GINGER JAR 
With original cap-shaped cover. ‘Tree peonies, blos- 
soms and shou characters painted in underglaze blue, 
coral-red and gilding on a speckled green ground. 
Bands and borders of sceptre heads and gadroons. 
Ch’ien-lung period (1736-1795). 
Height, 934, inches. 


314—WineE Ewer 
Fashioned after a Persian specimen. Decoration of 
palms, bamboo and border designs in peach-bloom tint. 
Ch’ien-lung period (1736-1795). 
Height, 1334 inches. 
315—BoTTLE-sHAPED VASE : 
Lotus design, decorated in rouge-de-fer and underglaze 
blue. Ch’ien-lung period (1736-1795). 
Height, 1134 inches. 


ee A a a 


SECOND AFTERNOON'S SALE 


WEDNESDAY, APRIL 19, 1911 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 o’cLOCK 


JAPANESE IVORIES AND LACQUERS 


316A—Carvep Woop NETSUKE 
Mask by Hara Shuzetsu. 


316B—Two Ivory Carvines 


Shojo, the demon destroyer, and a female wearing a 
mask. 


3$16C—Two Srectmens or LACQUER 


An inro, covered with bark, and bearing the Imperial 
crests, and a mallet decorated with vine design in 
gold lacquer. 


$16D—Two Specimens or LAcQuER 


Black and gold perfume box, and a gold lacquer per- 
fume burner, with openwork metal top. 


316E—Two PrerrumeE Boxes 
One lacquer with Sanscrit seal in lead, decorated on the 
interior. Signed Ritsuwo. The other of ivory dec- 
orated with gold lacquer. 


$16F—Lacever Tra Box 


Finished in imitation of pottery; incised mark under- 
neath the foot. Signed Saiho. 


316G—Pocket SHRINE 


Aventurine lacquer, inlaid with gold mosaics, minia- 
ture Buddha within. 


316H—Two Specimens or Goutp Lacquer 


Miniature cabinet, with floral decoration, and a per- 
fume box, with blossoms in relief gold and silver, in- 
terior of very fine nashiji. 


316I—IncENSE JAR 


Aventurine lacquer, with chrysanthemum in gold lac- 
quer, and silver pin-head studdings. 


316J—Prrrume Box 


Gold lacquer, with wheel patterns in mother of pearl. 
Incrustation by Korin. 


316K—SectionaL Box 


Gold lacquer, floral designs and butterfly pencilled in 
gold. 


316L—Go.xp LacevEr Box 
Birds and grasses in relief. Nashiji interior. 


316M—Tea Jar 


Aventurine lacquer. Dogs Foo and tree peonies in 
gold and powdered lacquer. 


316N—Hexaconat IncensE BuRNER 


Gold lacquer of fine quality, pine trees and maple in 
applied gold and mosaic inlaids. 


3160—Perrrume Box 
Nashiji lacquer, pine trees and crests in gold lacquer. 


316P—Teraxkwoop JEWELRY Box 


Decoration of insects in gold lacquer. Signed Shorin- 
sai in gold lacquer. 


316Q—CircuLar SHAPE INRO 
Black lacquer. 


316R—Inro 


Three sections. Black lacquer. Maples in gold lac- 
quer, silver moon. Ivory netsuke, snail and berries, 
cinnabar lacquer ojimi. Signed Tusai. 


$16S—Inro 


Five sections. Polished black lacquer. Plum in blos- 
som in low relief. Ivory netsuke, man with gourd. 
Signed Koma Bunsai. 


316T—Inro 


Four sections. Variegated lacquer. Figures and foli- 
age in relief in tortoise shell and lacquer—on a ground 
in imitation of fabric. Ivory netsuke, tiger and cub. 


Signed Hakuriu. 


316U—Inro 
Carved wood, incrusted in mother of pearl and tinted 
ivory. Inscriptions. Decoration after Yeisen; made 
by Kei-in. 

316V—Inro 
Four sections. Fine quality of gold lacquer. Game 


cocks, flowers and symbols in raised gold and silver. 


Signed by Kozan. 


316W—Inro 
Four sections. Black lacquer; plants, birds and 
stream pencilled: in gold. Signed Shiomi. 


316X—Inro 
Four sections. Black lacquer; storks and leaves in- 
crusted in lead and mother of pearl. By Korin. Ivory 
netsuke, fisherwoman caught by an octopus. 


316Y—Iwnro 
Three sections. Black lacquer, inlaid with gold leaf 
mosaics. Mask in relief. Cloisonné netsuke and metal 
ojimi. Signed Toyosai. 


Inro 


316Z 
Four sections. Fine gold lacquer, with gold mosaic’ 
inlays. The sacred elephant incrusted in ivory, 
mother of pearl, tortoise shell and metal work. On 
the reverse, children at play. Signed Shibayama, in 
mother of pearl. | 


316A A—Inro 
Four sections. Polished ivory panel decoration, ex- 
quisitely executed in gold and other lacquers. 


316BB—Inro 


Five sections. Aventurine lacquer. Maple and cloud 
forms in gold and other lacquers. 


316CC—Inro- 
Five sections. Black lacquer. Plum blossoms, bam- 
boo and rock in raised gold and silver lacquer. Signed 
by Kajikawa. 


316DD—Two Trays 
One black persimmon wood, with decoration in gold 


and other gold lacquer. Signed by Riugiokusai. The 


other aventurine lacquer, with carp and _ turbulent 
water in gold and black. 


$16EE—Evrorean Ivory Bas-RELIEF 
Christ and Mary. 


$16FF—Parir Ivory Bas-REtieFs 


Francis, the First, and consort. Carved in relief and 
tinted. Mounted in a plush case. 


CHINESE AND CLOISONNE ENAMELS 


317—IncenssE Box 


Chinese cloisonné enamel. Swastika and crests in 
colors on a turquoise-blue ground. 


318—MinitaTure TEarot 


Japanese cloisonné enamel. Chocolate color ground; 
two reserve panels of chickens and flowers. 


319—Trirvop INcENsE BuRNER 
With two rudimentary handles. Storks and chrysan- 
themums in white, green, yellow and red on a turquoise- 
blue ground. 


320—Two Incense Burners 
Oviform. Japanese cloisonné enamel. Storks and 
floral designs in various enamels on a turquoise-blue 
ground. 


$21—Pair BotrLE-sHAPED VASES 
Japanese cloisonné enamel. White ground with blos- 
soms in colors, a dark blue band around shoulder, 
and storks and blossoms in white and green. 


322—-SMaLL BEAKER-SHAPED VASE 
Chinese cloisonné enamel. Turquoise-blue ground, 
with blossoms and branches in green, dark blue and 
yellow. 


323—SmMa.LuL PLATE 
Chinese cloisonné enamel. Stork and flowers on a 
lapis-blue ground. 


324—Two CrrcuLtar Trays 
Chinese cloisonné enamel on bronze. One with but- 
terflies, gourds and blossoms on a_turquoise-blue 
ground, the other with pine tree, hawk and fabulous 
animal on a lapis-blue ground. Ch’ien-lung period 


(1736-1795). 


Diameter, 51%, inches. 


325—CHINESE CLOISONNE ENAMEL Bow 
Lotus scrolls, blossoms and sceptre heads in brilliant 
enamels on a turquoise-blue ground. Ch’ien-lung per- 
iod (1736-1795). 
Diameter, 514 inches. 
326—IncensE BuRNER 
In shape of a quail. Chinese cloisonné enamel on 


metal. Ch’ien-lung period (1736-1795). 


32'/—CHINESE CLOoIsonné Enamet Bow 
Floral and scroll designs in lapis-blue, purple, yellow 
and green on a turquoise-blue ground. Ch’ien-lung 
period (1736-1795). 


Diameter, 61% inches. 


3$28—Patr Hancocine Fitower VAsEs 


Semi-globular shape. Chinese cloisonné enamel on 
bronze; turquoise-blue ground, with medallions, flowers, 
storks and cloud forms in brilliant colors of enamel. 
Ch’ien-lung period (1736-1795). 


Diameter, 6 inches, 


329—CHINESE CLoIisonNnE Enamet Bown 
Crest designs on a turquoise-blue ground. Band of 
sceptre heads and gadroons in lapis-blue. Ch’ien-lung 
period (1736-1795). 
Diameter, 634 inches. 
330—Pair PLaTeEs 
Old Japanese cloisonné enamel or shippo ware. Flow- 
ers and mosaic patterns in low tones on a green and 


dark blue ground. 


Diameter, 91 inches. 


331—CakeE Box 
Chinese cloisonné enamel on metal. Phoenix and 
dragon on a black ground, and lotus scrolls in Indian 
red, white, blue and yellow on a turquoise-blue ground. 
Ch’ien-lung period (1736-1795). 
Diameter, 714. inches. 
3382—Larce Ovirorm Vase’ 


Old Japanese cloitsonné enamel or shippo ware. Tree 
peonies, chrysanthemums, birds and mosaic patterns in 


low tones on a green ground. 
Height, 17 inches. 


BRONZES AND OTHER METAL WORK 


333—MiniaTurE INCENSE BuRNER 
On tripod. Old Chinese bronze inlaid with gold wires. 


334— Iron PERFUME Box 
Old Japanese. Gold damescened decoration. 


335—Two SMa. Vases 
Chinese bronze. Relief decoration; brown patina. 


336—Bronze Lisation Cup 
Old Chinese. Relief decoration of wave designs and 
the Eight Trigrams. 


3837—SMaALu VASE 


Old Chinese bronze. Relief handles and festoons in- 
crusted with semi-precious stones; brown patina. 


338—JAPANESE Bronze VASE 
Tall slender shape. Vine decoration in relief, mottled 
red and brown patina. Signed, Takusai. | 
Height, 6 inches. 
339—JapPanEsE Bronze VaAsE 
Beaker shape on tripod. Relief decoration of maple 
tree and deer. Fine mottled brown patina. 
Height, 6 inches. 
340—QUADRILATERAL TRUMPET-SHAPED VASE 


Old Chinese bronze. Incised decoration of palmettes 


and swastika fret. 
Height, 81%, inches. 


341—Oup JAPANESE Bronze INcENsE BuRNER 
Figure of priest standing on a toad. 


Height, 8 inches. - 


$42—-OuLp CHINESE Bronze Fire Bown 


Relief panels and openwork cover, fine brown patina. 
Engraved seal mark of the Ch’ien-lung period (1736- 
OD 


$43—BoTrTrLE-sHAPED VASE 


With two handles in design of plum branches in blos- 
som. Dark brown patina. Old Japanese. 
Height, 8 inches. 


344—StTorKx-NEcK Borris 
Old Japanese bronze. Mottled red and green patina. 
Height, 10 inches. 
345—O.p JApaNnEsE Iron Box 


Hexagonal shape, peonies and diaper patterns inlaid 
in gold and silver. Signed by Seijiu. 


Diameter, 4 inches. 


346—OLp Japanese Iron Hexaconat Box 
Relief ornamentation of priest and pilgrim in gold, 
copper, silver and shakudo. Signed by Seijiu. 
: Diameter, 4 inches. 
3477—O.p JapanessE Iron Box 
Oval shape. Grapevine, bird and diaper patterns in 
relief and damescened in gold and silver. 
. Length, 6 inches. 
248—JapanEsE Iron Box 


Lozenge shape. Landscape and river view in gold and 
silver inlays. Signed by Rinzan. 

Length, 5 inches. 
349—Tripop IncensE BurNER 


Old Chinese bronze. Engraved ornamentation in three 
panels, dragons, animals and other designs. Greek 
fret border. Fine golden-brown patina. Has carved 


teakwood cover. 
Height, 7 inches; diameter, 9 inches. 


MISCELLANEOUS JAPANESE OBJECTS 
$50—Ivory Box 


Section of a tusk. Carved decoration of a dragon and 
fret border. 


351—Bowu Stanp 
Carved Soochou lacquer. 


$52—JapanEsE Marriact Bown 


Aventurine lacquer, with Tycoon crest and leaf scrolls 
in gold and silver. 
Diameter 12 inches. 


$53—Two Conr-sHAPED PerrumME Boxes 


Awata faience. Medallion decoration of bamboo, pine 
and flowers; blue glaze. : 


354—Smatu VASE 


Old Kutani ware. Decoration in green, yellow and 
black. 


355—ImitatTion TEA Jar 
Old Satsuma. Quail and grasses in enamel colors and 
gilding. 


S56 Penance Burner 


Old Japanese stoneware. Brown and gray glaze, in- 
cised decoration filled in with ivory-white. Open-work 
metal cover. 


357—Oxp Kyoto Bow. 
Figure of priest and dragon painted in enamel colors 
and gilding. 
Diameter, 4%, inches. 
358—BotTTLE-sHAPED VASE 


Old Japanese stoneware. Storks and fungi outlined in 
white over a brown glaze. 
Height, 41, inches. 
359—QUADRILATERAL VASE 


Old Kutani pottery. Flowers, birds and fret pattern 


in green and purple on a yellow ground. 
Height, 7 inches. 


360—TriancuLtar TEA JAR 
Old Sedji porcelain. Celadon crackle glaze. 


361—Oxp Satsuma Fire Bownu 


Phenix, dragon and flowers painted in green, red and 
blue enamels and gilding. 


Diameter, 5 inches. 


362—Oxtp AwapnJt1 Saxt BotrLe 


Gourd shape, with indented neck. Orange-yellow glaze 


streaked with green. 
Height, 8 inches. 


3$63—JAPANESE PLATE 


Dense porcelain. Covered with a brown glaze and 


decorated in ivory-white. 
Diameter, 8 inches. 


364—PorcrELAIN BRAZIER 


Deck porcelain, in imitation of Chinese. Green glaze. 
Mounted in metal. 


365—CakeE Box 
Old Kyoto faience; flowers and diapers in enamel colors 
and gilding. ‘Teakwood cover surmounted by a carv- 
ing of dogs Foo. 


Diameter, 6 inches. 
366—GovuRD-sHAPE SAkI BoTTLE 
Satsuma faience. Garden scene with figures of priests 
and mythological beings, painted in enamel colors and 
gilding. 
Height, 7 inches. 
367—Kaca PiatEe 
Children at play. Flowers and other designs painted 
in brilliant enamel colors and gilding. 
Diameter, 8 inches. 
368—Oup Kyoto Sax Botte 
Gourd shape. Pine branches and blossoms in blue and 
green enamel and gilding. 
Height, 7 inches. 
369—PorcetaIn PLATE 
Medallion and floral decoration on a mottled ground. 
Diameter, 91%. inches. 
370—Two PorceLain PLaTEs 
Imperial yellow glaze, with plum blossoms etched in 
reserve in the paste. 
Height, 9 inches. 
371—Two Oxp Kisuiv Puates 
Purple and blue glaze. Archaic medallions in black. 


Diameter, 914% inches. 


372—Two Sarsuma PxiateEs 


Chrysanthemum and other flowers painted in brilliant 
enamel colors and gilding. 


Diameter, 9 inches. 
873—Two Oxp Cocuin Cutna PLATEs 
Dense pottery. Green glaze with decoration of fishes, 
scrolls, and aquatic plants etched in the paste and 
filled in with red and yellow enamel. 
; Diameter, 111, inches. 
374—JAPANESE PoRCELAIN TEAPOT 


Decoration of storks and wave design carved in relief 
in the paste. 


-375—QUADRILATERAL SAKI BOTTLE 
Old Imari porcelain. Tree peonies, blossoms and other 


designs painted in brilliant enamel colors. Blue and ~ 


gold corners. 
Height, 814 inches. 
376—GouRD-SHAPE Saki Bortrie 


Old Japanese porcelain. Figures of warriors painted 
_in brilliant enamel colors and gilding. 


Height, 8 inches.. 


877—HeExaconau Sax Bottre © 
Japanese porcelain. Panel decoration. Howo bird, 
fishes and other designs in brilliant enamel colors. 
Figure of Hotei in relief in recess. 
Height, 84, inches. 


$78—Kusuiu Vase 


Purple and turquoise-blue glaze. Shou characters, 


flowers and scrolls worked in relief in the paste. 
Height, 914 inches. 
379—Satsuma Tripop IncEnNsE Burner 


“ Flowers, diaper and border designs painted in enamel 


colors and gilding. 
Height, 12 inches. 


$80—TaBsLE SCREEN 


Carved teakwood. with finely carved cinnabar lacquer 


panel. 
Height, 17 inches; width, 12 inches.. 


381—Two Traxwoop Ornament Sranps 
Irregular shape, with marble top. 


3882—Two Rost WaTEeR SPRINKLERS 
383—Two Rose Water SPRINKLERS 


$84—PERFUME SPRINKLER 


Persian semi-porcelain faience of the Eighteenth Cen- 
tury. Flat pear-shaped body, covered with a white 
glaze and decorated overglaze in blue. Cylindrical 
neck of copper, chased with figures in an oval pat- 
tern, and having a pierced top for sprinkling. 

Height, 8 inches. 


385—VasE 


Persian semi-porcelain faience of the Eighteenth Cen- 
tury. Elongated pear-shaped body, covered with a 
white crackled glaze and decorated overglaze in blue 
with a design of water birds and foliage. 

Height, 834 inches. 


386—NaARGHILE OR Water PIrr 


Persian semi-porcelain faience of the Eighteenth Cen- 
tury. Globular form, with cylindrical neck and semi- 
sperical spout for attachment to tube. Covered 
with a white glaze and decorated overglaze in blue with 
panels of animals and flowers, betraying a Chinese 


influence. 
Height, 8 inches. 


387—VasE 


Persian semi-porcelain faience of the Eighteenth 
Century. Pear-shaped body, with cylindrical neck and 


bulbous rim. Covered with a fine white glaze and 
decorated with panel subjects of vases, betraying a 


strong Chinese influence. 
Height, 11 inches. 


388—Sma.uL Derrer PLATE 


Persian semi-porcelanous faience of the Seventeenth 
Century. Covered with a white glaze and decorated 
overglaze in blue. The centre is occupied by a con- 
ventional floral design, the rim has an imbricated pat- 
tern of lines and floral motives. Framed. 

Diameter, 534 inches. 


389—SmatLu PLATE 


Persian semi-porcelanous faience of the Eighteenth 
Century. Covered with a white glaze with an over- 
glaze decoration in blue, of scrolls and trefoiled flowers. 
Framed. 

Diameter, 534 inches. 


390—Smatu PLATE 


Persian semi-porcelanous faience of the Seventeenth 
Century. Covered with a white glaze and decorated 
in dark blue. The centre is occupied by a Chinese 
landscape motive, the same subject being represented 
around the rim. The reverse is decorated with dia- 


mond-shaped figures in panels. 
Diameter, 614 inches. 


391—PuaTE 


Persian semi-porcelanous faience of the Seventeenth 
Century. Covered with a fine white glaze, rimmed with 
brown, and decorated overglaze in blue. The centre 
is occupied by a symmetrical arrangement of four 
palmettes, surrounded by a border of disks and circles. 
The reverse is decorated with a symmetrical arrange- 


ment of floral motives. 
Diameter, 7144, inches. 


392—Derrer Puate 


Persian semi-porcelanous faience of the Seventeenth 
Century. Covered with a fine white glaze running into 
heavy drops at the foot. Decorated overglaze in blue. 
The centre is occupied by a medallion of checkered 
pattern surrounded by four palmettes and a band of a 
dotted pattern. 


Diameter, 934 inches. 


393—Derpr Pate 


Persian semi-porcelanous faience of the Seventeenth 
Century. Covered with a white crackled glaze and 
rimmed with brown. Decorated overglaze in black. 
The centre is occupied by a medallion of a nightin- 
gale and conventional flower forms. The border is 
divided into eight panels filled with conventional flower 
forms. ‘The reverse is decorated with a pattern of 


floral scrolls. 
Diameter, 814 inches. 


394—Derp Puate 


Persian semi-porcelanous faience of the Seventeenth 
Century. Covered with a fine white glaze and deco- 
rated overglaze in blue, and with green and red en- 
amels. The centre is occupied by a pattern of red 
flowers and green leaves; the deep border of an imbri- 
cated pattern is interrupted by panels filled with floral 
forms and Chinese emblems in blue. The reverse is 
decorated in overglaze blue with a pattern of floral 


scrolls. 
Diameter, 12 inches. 


395—TILe 


Persian faience of the late Eighteenth Century. Cov- 
ered with a white glaze and having a design in relief 
of two female figures on either side of a vase standing 
on a fluted pedestal. The ground is of an overglaze 
blue, the figures are decorated in overglaze greens and 


purple. Framed. 
Height, 8 inches; width, 7 inches. 


396—Deerr PiatTe 


Rhodian ware of the Seventeenth Century. Covered 
with a white glaze and decorated overglaze in blue, 
green and brown, with heightenings of red enamel. 
The centre is occupied by a design of tulips, carna- 
tions and hyacinths. The border is a zig-zag pattern 
of oval leaves and trefoils. 
Diameter, 10 inches. 
397—PLaTE 
Rhodian ware of the Eighteenth Century. Covered 
with a white glaze and decorated with a pattern of 
lancet-shaped leaves and quatrefoiled flowers in blue, 
green, brown and red enamels. 
Diameter, 10 inches. 
398—Derr Puate 
Rhodian ware of the Eighteenth Century. Covered 
with a white glaze having an overglaze decoration of 
interlacing triangles in blue, green and brown, height- 
ened by brown enamel. 
Diameter, 10 inches. 


399—Derep Pate 
Rhodian ware of the Eighteenth Century. Covered 
with a white glaze, decorated overglaze in brown, green 
and blue, heightened by red enamel with a checkered 
pattern, surrounded by a border of zig-zags. 
Diameter, 10 inches. 


400—Derr PiatTEe 
Rhodian ware of the Seventeenth Century. Covered 
with a turquoise-blue glaze, and decorated overglaze 
in blue, green and brown, heightened by red enamel, 
with a pattern of tulips, carnations and asters, sur- 
rounded by a zig-zag border. 
Diameter, 11 inches. 
401—Deerr Puate 
Rhodian ware of the Seventeenth Century. Covered 
with a turquoise-blue glaze and decorated overglaze in 


green, yellow and brown, with a pattern of peonies, 
carnations and palmettes. Surrounded by a border of 
scrolls and spirals. 

Diameter, 11 inches. 


402—Derp PuatEe 


Rhodian ware of the Seventeenth Century. Covered 
with a white glaze and decorated overglaze in green, 
blue and brown, heightened by brown enamel, with a 
pattern of tulips, carnations and lancet-shaped leaves. 
Surrounded by a border of scrolls and spirals. 
Diameter, 10 inches. 


403—Derrer PLATEs 


Rhodian ware of the Seventeenth Century. Covered 
with a fine white glaze, and decorated overglaze in blue, 
green and brown, heightened by red enamel, with a 
pattern of birds and floral scrolls surrounded by a 
zig-zag border. 


Diameter, 101, inches. 


404—Derrep PLate 


Rhodian ware of the Seventeenth Century. Covered 
with a greenish-white glaze, and decorated overglaze in 
green, red and brown, heightened with red enamel, 
with a pattern of tulips, peonies and lancet-shaped 
leaves, surrounded by a border of cinquefoils and leaf 
forms. 

Diameter, 101% inches. 


405—Derrr Piate 


Rhodian faience of the Seventeenth Century. Covered 
with a creamy-white glaze, and decorated overglaze in 
blue, green and brown, heightened with red en- 
amel in a pattern of tulips, peonies and palm-leaves, 


surrounded by a border of spirals. 
Diameter, 114% inches. 


406—Derr PuatTe 


Rhodian ware of the Seventeenth Century. Covered 
with a white glaze, and decorated overglaze in blue, 


green and brown with a pattern of tulips, peonies and 
a palm-leaf, surrounded by a border of spirals in 
gray. 


Diameter, 121% inches. 
407—Derr PLate 


Persian-Kaschan faience of the Eighteenth Century. 
Covered with a fine white glaze, decorated overglaze in 
blue outlined in black, with a pattern of vases and floral 
motives surrounded by a wreath border of leaves in 
white reserve on a blue ground. All showing a Chinese 
influence. 


os 


4 
Pe ee Oe Se See ee ee ee ee ea ee ae 


Diameter, 1314 inches. 


408—Dererr PLATE 


Rhodian ware of the Seventeenth Century. Covered 
with a white glaze, and decorated overglaze in blue, 
green and brown, heightened with red enamel, in a 
pattern of tulips, peonies, hyacinths and a palm-leaf, 
surrounded by a border of spirals in gray. In circu- 
lar frame. 


a a 


ee ee ee 


- Diameter, 101% inches. 


409—Derrrp PLate 


Rhodian ware of the Seventeenth Century. Covered 
with a white glaze, and decorated overglaze in green, 
blue and brown, heightened by red enamel, with a pat- 
tern of red fleurettes in round panels of white reserve 
on a green ground, and surrounded by a border of zig- 
zag pattern in white reserve, with fillings of green and 
blue. In circular frame. 

Diameter, 1014 inches. 


41 (a nee PLATE 


Rhodian ware of the Seventeenth Century. Covered 
with a white glaze, and decorated overglaze in blue, 
green and brown, heightened by red enamel with a pat- 
tern of tulips and peonies, surrounded by an inter- 
laced pattern of white reserve and red enamel. In 


square frame. : 
Diameter, 11 inches. 


411—Derrp Prate 


Rhodian ware of the Seventeenth Century. Covered 
with a white glaze, and decorated underglaze in green, 
blue and brown, heightened by red enamel with a 
pattern of tulips, peonies, carnations and a palm-leaf, 
surrounded by a border of green spirals and panels of 


white reserve. In square frame. 
Diameter, 11 inches. 


412—Watu TILE 


Damascus faience of the Eighteenth Century. Cov- 
ered with a white crackled glaze, and decorated in blue, 
green and brown in a pattern of tulips, grapes and 
floral medallions of white reserve on a dark blue 
ground. On one side is a border of leaf and flower 
forms in white reserve on the blue ground. In frame. 

Size, 10 inches square. 


413—Watu TILE 


Damascus faience of the Eighteenth Century. Cov- 
ered with a white crackled glaze, and decorated in blue, 
green and brown in a pattern of floral medallions, and 
curved bands with sprays of vine leaves and bunches 
of grapes in white reserve on a deep blue ground. On 
one side is a border of a Saracenic counter-change pat- 
tern of interlacements in blue, green and white reserve. 


In frame. 
Size, 1014 inches square. 


414—Watu Tite 


Damascus faience of the Eighteenth Century. Cov- 
ered with a white crackled glaze, decorated overglaze 
in green, brown and two shades of blue, in a pattern of 
eight-pointed stars formed by the apposition of large 
and small medallions, filled with an interlaced floral 


design. In frame. 
Size, 914 inches square. 


415—Watuu TILE 


Damascus faience of the Eighteenth Century. Cov- 
ered with a white crackled glaze, and decorated over- 
glaze in green, blue of two shades, and brown, with 
a pattern of conventional tulips and palmettes in white 
reserve, outlined in brown, with green fillings on a dark 
blue ground. In frame. 


Size, 121, inches square. 


416—Wine PircuHer 


Persian-Kaschan faience of the Eighteenth Century. 
Pear-shaped body, with cylindrical neck, wide mouth, 
round handle and octagonal tapering spout finished in 
metal. Coated exteriorly with a thick Persian blue 
glaze, running into drops at the foot. The interior 
has a turquoise-blue glaze. Around the rim and the 
neck is a band of annular decoration in relief. 

Height, 914 inches. 

417—PuLaTEAU 


Hispano-Mauresque lustre ware of the Sixteenth 
Century. Covered with a thick stanniferous ivory 
glaze, and decorated in light colored copper lustre. 
The centre is occupied with a convex medallion sur- 
rounded by a border of pseudo Kufic inscription. The 
rim is slightly modelled and decorated in copper lustre 
and blue, with a pattern of leaf forms, rosettes and 
scrolls. Cracked and mended. 

Diameter, 1334, inches. 


418—Derrp PLate 


Hispano-Mauresque lustre ware of the Fifteenth Cen- 
tury. Covered with a thick stanniferous ivory glaze, 
decorated overglaze in light copper lustre. The centre 
is occupied by a convex medallion surrounded by a 
line of blue and a deep border of spiral pattern in 
copper. Around this are four bird forms, of archaic 
character, in a bold outline of blue. Cracked and 


rivetted. 
Diameter, 141% inches. 


419—PuatTE 


Hispano-Mauresque lustre ware of the Fifteenth 
Century. Covered with a stanniferous ivory glaze and 
decorated in light colored coppery lustre. In the cen- 
tre is a convex medallion surrounded by a wreath-like 
border. The rim is decorated with a design of panels 
filled with floral motives. Cracked and repaired. 


Diameter, 151% inches. 


420—Derrr PLATE 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a yellow stanniferous glaze, dec- 
orated in red copper lustre. The centre is occupied by 
a pattern of a bird surrounded by conventional foliage, 
the rim is divided into four panels of conventional 


fruit and foliage decoration. 
Diameter, 144, inches. 


421—Drrr Puate 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a cream-colored stanniferous 
glaze, and decorated overglaze in red copper lustre 
and blue. The centre is occupied by a convex medal- 
lion of solid copper lustre, surrounded by a border of 
_ bird forms treated in copper lustre and three leaf forms 
in blue. The rim is decorated with a pattern of spirals 


in copper lustre. 
Diameter, 141 inches. 


422—Drrep PLATE 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a stanniferous cream-colored 
glaze, and decorated overglaze in golden lustre and 
blue. The centre is occupied by a convex medallion 
of golden lustre, surrounded by a double border of 
interlaced pattern having a meander pattern of white 
reserve on a golden lustred ground. The rim is dec- 


orated with flowers and leaf forms, interrupted by 
three large leaf forms of solid golden lustre, outlined 
in blue, and by two groups of three blue dashes. 


Diameter, 15 inches. 


423—Derrrp Disu 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a stanniferous ivory glaze and 
decorated overglaze with a red copper lustre. The 
centre is occupied by a medallion of conventional 
leaf forms, surrounded by a broad border of birds, 
flowers and foliage, all in copper lustre. The rim is 
divided into four panels of birds and foliage in cop- 


per lustre. 
Diameter, 1444 inches. 


424—_Drrp PLATE 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a stanniferous ivory-white glaze, 
and decorated overglaze in light colored copper lustre 
and blue. The centre is occupied by a convex medal- 
lion, surrounded by traces of a scrolled border in 
copper lustre. The rim is decorated with eight leaf- 
shaped ornaments of blue on a ground which shows 
traces of a scrolled and zig-zag pattern in copper lus- 


tre. 
Diameter, 15 inches. 


425—Derrp PLATE 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a stanniferous cream-colored glaze, 
and decorated overglaze in golden lustre. The centre 
is occupied by a convex medallion with a floral pattern 
in golden lustre, surrounded by a border of spiral 
hatchings. The rim is decorated with a pattern of 
bold scrolled leaf and flower forms in golden lustre. 
Diameter, 15 inches. 


426—Derrr PLATE 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a stanniferous cream-colored glaze, 
and decorated overglaze in golden lustre and blue. 
The centre is occupied by a convex medallion, over 
which and the entire surface of the plate is a design 
of bands of leaf forms, and of checkered pattern in 
golden lustre and white reserve, divided by lines of 
blue. Cracked and repaired. 


Diameter, 151% inches. 


427—Derrr Puate 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a stanniferous white glaze, and 
decorated overglaze in copper lustre. The centre is 
occupied by a convex medallion with a floral design 
in copper lustre and surrounded by a border of pseudo 
‘Kufic inscription. The rim is decorated with bold 
leaf forms, separated by patterns of scroll work in 


copper lustre. Chipped. 


Diameter, 15% inches. 


428—Derrr Puate 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a stanniferous cream-colored glaze, 
decorated in copper lustre and blue. ‘The centre is 
occupied by a raised and concave medallion in solid 
copper lustre, surrounded by a border extending to 
the rim, of birds, fruits and foliage in copper lustre, 
and three trefoiled flower forms in dark blue. Cracked 


and riveted. 
Diameter, 15 inches. 


429—Drrr PLatTe 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a stanniferous cream-colored glaze, 
and decorated overglaze in rich copper lustre. The 
centre is occupied by a convex medallion with a six- 
rayed star pattern on a dotted ground, surrounded 


by a border of six panels of scrolls in white reserve 

on a copper ground, interspersed by triangular panels | 
of dotted pattern. The rim is decorated with four 
panels of an impressed pattern in solid copper lustre 
on a ground of a dotted pattern. 


Diameter, 153, inches. 


430—Deerrp PLATE 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a_ stanniferous cream-colored 
glaze, decorated overglaze in reddish copper lustre. 
The entire surface is occupied by a pattern of leaf- 
shaped panels in white reserve, having scroll designs of 
copper lustre, on a ground of copper lustre. In square 


frame. 7 
Diameter, 8 inches. 


431—Derrr Puate 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a stanniferous cream-colored 
glaze, and decorated overglaze in copper lustre. The 
centre is occupied by a convex medallion in solid cop- 
per lustre, surrounded by a border of rosettes in copper 
lustre on a white ground. The rim is decorated with a 
border of interlacements between two borders of 
V-shaped design. Cracked and repaired. In square 


frame. 
Diameter, 14 inches. 


432—-Vasz witH HANDLES 


Italo-Greek, about the Second Century B.C. Lecythus 
form, with pear-shaped body, cylindrical neck and 
spreading rim, two round, straight handles, and cy- 
lindrical foot. Of red earthenware decorated in 
brownish black, with figures and patterns in a light 
brown reserve. On one side are two male figures en- 
tirely draped in togas and facing each other. On 
the other side is a goddess standing in a shrine, with 
a priestess on either side. These figures have been 


heightened with a white enamel-like paint. These fig- 
ure groups are divided by two bold scroll ornaments, 
while around the body above and below are bands of 
“Greek wave” ornamentation. The neck has on either 
side a honeysuckle ornamentation. 

Height, 21 inches. 


433—Derrr PLATE 


Hispano-Mauresque lustre ware of the Fifteenth Cen- 
tury. Covered with a stanniferous cream-colored 
glaze, and decorated overglaze in copper lustre. The 
centre is occupied by the figure of a bird surrounded 
by a pattern of scrolls and leaf forms. The rim is 
decorated with a border of scrolls and leaf forms. 
Cracked and repaired. 


Diameter, 131%, inches. 


434—Drrp PLATE 


Hispano-Mauresque lustre ware of the Fifteenth Cen- 
tury. Covered with a stanniferous cream-colored 
glaze, and decorated overglaze in copper lustre. The 
centre is occupied by a very much conventionalized lion 
form, surrounded by a field of a diapered pattern of 
carnation blossoms and leaf scrolls. Cracked and re- 


paired. 


Diameter, 14% inches. 


435—Derer PLate 


Hispano-Mauresque lustre ware of the Fifteenth Cen- 
tury. Covered with a stanniferous cream-colored 
glaze, and decorated overglaze in copper lustre and 
blue. The centre is occupied by a three-branched 
flower form in solid blue, surrounded by a scrolled and 
feathered pattern in copper lustre. The rim is deco- 
rated with a border of a scrolled and feathered pat- 


tern in copper lustre. 
Diameter, 1234 inches. 


436—Derr PLATE = 

Hispano-Mauresque lustre ware of the Sixteenth Cen- 

tury. Covered with a stanniferous ivory-white glaze, 

and decorated overglaze in blue and copper lustre. | 

The centre is occupied by a three-branched flower 

form in solid dark blue, surrounded by a field extend- 

ing over the entire plate of a diapered pattern of small 
irregular discs of copper lustre. 

Diameter, 1314 inches. 


437—PLaTE 

Hispano-Mauresque lustre ware of the Fifteenth Cen- 
tury. Covered with a stanniferous cream-colored 
glaze, and decorated overglaze in a light brown lustre. 
The centre is occupied by a convex medallion having 
a device in brown lustre. ‘The rim is decorated with 
leaf forms and scrolls arranged in a zig-zag pattern. 

Diameter, 121% inches. 


438—PLATE 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a stanniferous cream-colored 
glaze, and decorated overglaze in golden lustre. ‘The 
centre is occupied by a slightly convex medallion hav- 
ing, with a shield-shaped panel, a heraldic device of a 
leopard’s head in golden lustre. ‘The remainder of 
the field is occupied by a diapered pattern of scrolls 
and tulip-shaped flower forms in golden lustre. 
Diameter, 13%, inches. 


439—Derp PLATE” 


Hispano-Mauresque lustre ware of the Fifteenth Cen- 
tury. Covered with a stanniferous yellow glaze, and 
decorated overglaze in a brownish lustre, showing pur- 
ple reflections. ‘The centre is occupied by a pattern 
of leaf-shaped panels in light yellow reserve, occupied 
by a scrolled and feathered pattern in brown lustre. 
The rim is decorated with a scrolled and feathered pat- 
tern in brown lustre. 

Diameter, 1214 inches. 


440—Derer Puate 


Hispano-Mauresque lustre ware of the Fifteenth Cen- 
tury. Covered with a stanniferous cream-colored 
glaze and decorated overglaze in blue and copper lus- 
tre. The centre is occupied by a scrolled floral pattern 
in blue, surrounded by a scrolled and feathered pat- 
tern in copper lustre. The rim is decorated with a 
border of scrolled and feathered pattern in copper 
lustre, interrupted by four leaf forms in blue. Cracked 


and repaired. 3 
Diameter, 13 inches 


441—PLaTE 


Hispano-Mauresque lustre ware of the Fifteenth Cen- 
tury. Covered with a stanniferous cream-colored 
glaze, and decorated overglaze in copper lustre show- 
ing silvery reflections. The centre is occupied by a 
convex medallion bordered by bands of copper lustre. 
The rim is decorated with pointed leaf forms and 
scrolls arranged in zig-zag pattern. Cracked and 


rivetted. 
Diameter, 121% inches. 


442—PLaATE 


Hispano-Mauresque lustre ware of the Fifteenth Cen- 
tury. Covered with a stanniferous white glaze, and 
decorated overglaze in a coppery lustre. The centre 
is occupied by a convex medallion, surrounded by a 
border of pseudo Kufic characters in copper lustre. 
The rim is decorated with incised flutings and a pattern 
of leaf forms and scrolls in copper lustre on panels of 
white reserve. Cracked and repaired. 

Diameter, 1214 inches. 


443—PLATE 


Hispano-Mauresque lustre ware of the Fifteenth Cen- 
tury. Covered with a stanniferous white glaze, and 
decorated overglaze with a copper lustre, showing 
purple reflections. The centre is occupied by a convex 


A eRe 
TE 


=a 1 ay : 
medallion surrounded by bands of copper lustre. The 
rim is decorated with a pattern of panels filled with 
flower forms and divided by a diapered and checkered 
pattern in copper lustre. Damaged. 

Diameter, 13 inches. 


444—PLATE 


Hispano-Mauresque lustre ware of the Fifteenth Cen- 
tury. Covered with a _ stanniferous cream-colored 
glaze, and decorated overglaze in light brown lustre 
showing coppery reflections. The centre is occupied 
by a convex medallion, surrounded by bands of copper 
lustre. The rim is decorated with a pattern of whorls 
and spirals in coppery lustre. Cracked and repaired. 

Diameter, 13 inches. 


445—PLatTE 


Hispano-Mauresque lustre ware of the Fifteenth Cen- 
tury. Covered with a stanniferous white glaze and 
decorated overglaze in golden lustre, showing green 
reflections. The centre is occupied by a convex me- 
dallion surrounded by a band of pseudo Kufic char- 
acters. ‘The rim is decorated with a pattern of mod- 
elled concentric flutings having a scrolled ornamenta- 


tion in golden lustre. | 
Diameter, 1234 inches. 


446—Derrr Puate 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a stanniferous cream-colored 
glaze, and decorated overglaze in copper lustre show- 
ing purple reflections. The centre is occupied by a 
conventionalized figure of a bird, surrounded by flower 
forms and scrolls in copper lustre. The rim is dec- 
orated with a border of flower and leaf forms in copper 


lustre. 
Diameter, 13 inches. 


44.°7—PLaAaTE 


sf Hispano-Mauresque lustre ware of the Fifteenth Cen- 
tury. Covered with a stanniferous white glaze, and 
decorated overglaze in light yellow lustre showing 
coppery reflections. The centre is occupied by a small 
convex medallion surrounded by bands of yellow lustre. 
The rim is decorated with a border of flower and leaf 


forms in yellow lustre. 
Diameter, 121% inches. 


448—DerEp PLate 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a stanniferous cream-colored 
glaze, and decorated overglaze in copper lustre show- 
ing purple reflections. ‘The centre is occupied by a 
conventionalized bird surrounded by fruits and leaf 
forms in copper lustre. The rim is decorated with a 
border in four panels of fruits and leaf forms in copper 
lustre. Cracked. 


Diameter, 121% inches.. 


44.9—PLATE 


Hispano-Mauresque lustre ware of the Fifteenth Cen- 
tury. Covered with a stanniferous cream-colored 
glaze, and decorated overglaze in copper lustre show- 
ing purple reflections. The centre is occupied by a 
slightly convex medallion with a decoration of a leaf 
form in copper lustre and surrounded by bands of 
copper lustre. ‘The rim is decorated with a pattern of 
bold leaf forms in copper lustre. Cracked and re- 
paired. 


Diameter, 12 inches. 


450—DereEr PLATE 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a stanniferous ivory-white glaze, 
and decorated overglaze in copper lustre showing pur- 
ple reflections. The centre is occupied by a .conven- 


tionalized figure of a peacock. The rim is decorated 
with a scrolled, feathered and floral pattern in copper 


lustre. Cracked and repaired. 
Diameter, 10 inches. 


451—PLatTE 


Hispano-Mauresque lustre ware of the Seventeenth 
Century. Covered with a stanniferous cream-colored 
glaze, and decorated overglaze in blue and purple lus- 
tre. The centre is occupied by alternate bands of 
blue and purple lustre, and the rim is decorated with 
curved lines and dots of purple lustre. 

Diameter, 834 inches. 


452—SmaLu Drep PLATE 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a stanniferous cream-colored 
glaze, and decorated overglaze in copper lustre show- 
ing purple reflections. ‘The centre is occupied by a 
conventionalized bird form surrounded by a scrolled 


pattern in copper lustre. 
Diameter, 744 inches. 


453—SmMauut Drrr PLATE 


Similar to preceding (No. 452). Cracked and riv- 
eted. 


454—Smatu Derr PLatse 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a _ stanniferous cream-colored 
glaze, and decorated overglaze in copper lustre show- 
ing purple reflections. ‘The centre is occupied with 
a pattern of fruit and leaf forms in copper lustre. The 
rim is decorated with an interlaced border and bands 


of copper lustre. 
Diameter, 734 inches. 


455—SmaLtL Derr PLATE 
Similar to preceding. 


456—Smatut Derr Puate 
Similar to preceding. 


457—Sma.Lu Deep Puate 
Similar to preceding. 


458—Smatu Deep Piate 
Similar to preceding. 


459—Smart Drzp PLATE 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a stanniferous ivory-white glaze, 
and decorated overglaze in copper lustre showing pur- 
ple reflections. ‘The centre is occupied by a floral 
and scrolled pattern in copper lustre. The rim is dec- 
orated with a scrolled border of leaf forms in copper 


lustre. 
Diameter, 714 inches. 


460—Smatut Derr PLATE 
Similar to preceding. 


461—Smatut Deep Piate 
Similar to preceding. 


462—Smautt Derr PLate 
Similar to preceding. Cracked and riveted. 


463—Smatu Deer PLATE 
Similar to preceding. 


464—Smatut Puate 
Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a _ stanniferous cream-colored 
glaze, and decorated overglaze in copper lustre. The 


Te aheNs ew ek ly Le MN eee RR Ed os tT eee ae en ROOT NEA e Gen ee 
ie ‘ Sal Aigo he AH gtgeu aca) ath. SAE ae died TT eat yeaee” aera 
4 eA LOR clade Nt 


centre is occupied by a conventionalized bird form 
surrounded by flower and leaf forms in copper lustre. 
The rim is banded with copper lustre. 


Diameter, 814, inches. a 


465—SmMauLyL Derr PLATE 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a stanniferous cream-colored : 
glaze, and decorated overglaze in copper lustre. The | 
centre is occupied by a solid field of copper lustre 
surrounded by a border of scrolls and leaf forms on 
a dotted ground in copper lustre. 

Diameter, 71 inches. 


466—SMALL Derr PLATE 


Similar to preceding. 


467—SMa.LuL Drep PLATE 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a stanniferous cream-colored 
glaze, and decorated overglaze in copper lustre. The 
centre is occupied by a conventionalized bird form 
surrounded by flower and leaf forms. ‘The rim is 
banded with copper lustre. Cracked and repaired. 


Diameter, 81%, inches. 


468—SmatL Deep PLATE 


Similar to preceding. 


469—Smauu Derr PLATE 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a stanniferous cream-colored 
glaze, and decorated overglaze in copper lustre. ‘The 
centre is occupied by a conventional treatment of a 
carnation in blossom, surrounded by a pattern of 
spirals and scrolled sprays. The rim is bordered by 


a band of copper lustre. 
Diameter, 734, inches. 


470—Smartyt Derr Piate 
Similar to preceding. 


471—Smau.t Deer Piate 
Similar to preceding. Cracked and riveted. 


4772—Smautu Derp Piate 
Similar to preceding. 


473—Smatu Drrep PLate 
Similar to preceding. 


474—SmatL Deer Piate 
Similar to preceding. 


475—Smauu Deep Puate 
Similar to preceding. 


476—Smatut Deep Priate 
Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a stanniferous buff-colored glaze, 
and decorated overglaze in copper lustre. The centre 
is occupied by a pattern of carnations surrounded by 
a border of spirals. Cracked and riveted. 


Diameter, 7 inches. 


47°7—Smatu Deep Prats 
Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a stanniferous ivory-white glaze, 
and decorated underglaze in copper lustre. The cen- 
tre is occupied by a conventional bird form on a dotted 
ground and surrounded by a scrolled pattern in cop- 
per lustre. 
Diameter, 714 inches. 
477/8—SMALL PuLaTE 
Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a stanniferous cream-colored 


glaze, and decorated in copper lustre. The centre is 
occupied by a bird form surrounded by leaf forms. 
The border is divided into three panels of patterns of 
flower and leaf forms in copper lustre. 

Diameter, 8 inches. 


AT ena y, PLATEs 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Covered with a stanniferous ivory-white glaze, 
and decorated overglaze in copper lustre. The cen- 
tre is occupied by a pattern of fruit and leaf forms, 
and the rim is decorated with a border of similar treat- 
ment, all in copper lustre. 

Diameter, 8 inches. 

480—VasE 

Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Cylindrical shape, with flaring rim. Covered 
with a stanniferous cream-colored glaze, and deco- 
orated overglaze in yellow lustre showing coppery re- 
flections. The body is decorated with horizontal 


bands of fruit and leaf forms in yellow lustre. 
Diameter, 9 inches. 


481—VasE 
Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Cylindrical shape with flaring rim. Covered 
with a stanniferous cream-colored glaze, and dec- 
orated overglaze in copper lustre. The body is dec- 
orated with horizontal bands of a fruit and scroll pat- 
tern in copper lustre. 
Height, 101%, inches. 
482—Cup on STAND 
Hispano-Mauresque lustre ware of the Seventeenth 
Century. Small pear-shaped vase with saucer-like 
stand. Covered with a stanniferous cream-colored 
glaze, and decorated overglaze in blue and copper 
lustre. The decoration consists of flower forms in cop- 
per lustre and three leaf forms in blue. 
Height, 2 inches; diameter, 6 inches. 


483—SmatuL DrEr PLATE 


Spanish lustre ware of the early Eighteenth Cen- 
tury. Covered with a stanniferous cream-colored 
glaze, and decorated in patterns in relief and colored 
in yellow, blue and red lustre. The centre is occupied 
by the portrait of a bearded man in a green robe 
with red cap slightly modelled. The rim is decorated 
with an acanthus leaf pattern in relief and colored in 


yellow, blue and red lustre. 
Diameter, 71/, inches. 


484—Vase , 
Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Bulbous body, with cylindrical rim. Covered 
with a stanniferous cream-colored glaze, and decorated 
overglaze in copper lustre. The body is surrounded 
by a pattern of conventionalized birds, and by flowers 


and leaf forms. The rim is banded with copper lustre. 


Cracked. 
Height, 61, inches. 


485—VaskE witH HANDLE 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Pear-shaped body, with cylindrical neck and 
four loop handles. Covered with a stanniferous cream- 
colored glaze, and decorated overglaze in copper lus- 
tre. The body is surrounded by a pattern of conven- 
tionally treated carnations, and by spirals in copper 
lustre. 

Height, 7 inches. 


486—VaseE witH HANDLES 


Hispano-Mauresque lustre ware of the Sixteenth Cen- 
tury. Pear-shaped body,’ with tall cylindrical flaring 
neck and two flat loop handles. Covered with a stan- 
niferous cream-colored glaze, and decorated overglaze 
in copper lustre. The body is surrounded by a pat- 
tern of birds, flowers and foliage in copper lustre. 
The neck is decorated with bands of a scrolled pattern. 

Height, 1114 inches. 


487—Vase witH HanpDLeEs 
Hispano-Mauresque lustre ware of the Sixteenth Cen- 


tury. Spherical body, with tall cylindrical flaring neck — 


and two flat loop handles. Covered with a stannifer- 
ous cream-colored glaze, and decorated overglaze in 
copper lustre. The body is surrounded by a pattern 
of conventional birds and foliage in copper lustre. 
The neck is decorated with bands of a scroll pattern 


in copper lustre. 
Height, 1014 inches. 


488—Guass Bown 


Syrian of the Second Century B.C. Of greenish 
moulded glass, with rounded bottom and wide flat rim. 
Partly coated with a yellowish patina and showing 
many traces of surface disintegration including a light 
iridescence. Of unusual size and in a very excellent 
state of preservation. 

Height, 4 inches; diameter, 1114 inches. 


489—Prprer CASTER 


Staffordshire ware of the Nineteenth Century. Blue 


and white willow pattern decoration. 
Height, 31% inches. 


490—FLowER VASE 


Delft ware of the Nineteenth Century. Formed as a 
lady’s high-heeled slipper, and decorated in blue and 


white with coat of arms. 
Length, 81% inches. 


491—PuaTE 
Delft ware of the Eighteenth Century. Decorated in 
blue on white, with an Oriental design and a Dutch 
inscription. Marked, “Bideen tgy Aan’t eeten gaat.” 


Diameter, 9 inches. 


ca a gee a a ee) 


492—_PLATEAU 


Delft ware of the Nineteenth Century. Square, with 
rounded corners. Decorated in blue on white, with a 
Chinese figure subject. Marked, W. A. K. 


Size, 10 inches square. 


493—Parr oF VASES 


Delft ware of the Nineteenth Century. Spherical body, 
with cylindrical neck and bulbous mouth. Decorated 
in blue on white with a pattern of scrolls and flower 


forms. 
Height, 10 inches. 


494—Parr or VaszEs 


Delft ware of the Nineteenth Century.  Beaker- 
shaped, and decorated in blue on white with a design 
of fabulous monsters and architecture in the Chinese 


manner. 
Height, 81% inches. 


-495—Patrr oF Vases 

Delft ware of the Nineteenth Century. Spherical 
bodies with octagonal necks and bulbous mouths. 
Decorated in blue on white with a Chinese pattern of 
sceptre-head borders, floral diaper and palmettes. One 


without rim. Marked N. in blue. 
Height, 13 inches. 


. 496—Patrr or Vases 


Delft ware of the Eighteenth Century. Beaker-shaped, 
with wide mouth. Decorated in blue on white, with 
cartouche-shaped panels containing landscapes and 
surrounded by scrolled and floral patterns. 

Height, 101% inches. 


497—Smautu Derr Piate 


Italian majolica of the Sixteenth Century. Decorated 
in green, red and yellow enamels on a white ground. 


In the centre the sacred monogram in blue, within a 

diamond-shaped panel. The rim has a scrolled and 

floral border in green. Cracked and repaired. 
Diameter, 8 inches. 


498—PLATE 


Italian lustre majolica of the Sixteenth Century. 
Covered with a crackled white glaze and decorated 
overglaze with a diapered pattern in blue and copper 


lustre. Cracked and repaired. 
Diameter, 8 inches. 


499—Derrp Puate 


Italian majolica (Pesaro) of the Sixteenth Century. 
Covered with a fine white glaze and decorated in the 
centre with a group of sportive amorino, with an archi- 
tectural background. The rim is decorated with a 
border of grotesques and scrolls. Marked, ‘Titus 
Magrini fecit. Pisauri. A.D.’ (date defaced). 


Diameter, 101% inches. 


500—Derrr Puate 


Italian majolica of the Sixteenth Century. Covered 
with a cream-colored glaze, decorated in blue, yellow 
and copper lustre. In the centre is the portrait of a 
girl in a yellow dress and head-dress against a blue 
background. The wide rim is decorated with a pat- 
tern of imbrications in blue, yellow and copper lustre. 

Diameter, 91% inches. 


501—PuatTE 


Italian majolica of the Seventeenth Century. Cov- 
ered with a fine white glaze and decorated in blue and 
golden lustre in a diaper pattern of floral scrolls. 


Cracked and repaired. 


Diameter, 81% inches. 


502—PuaTE 


Italian majolica of the Nineteenth Century. Deco- 
rated with a figure of Tiber reclining, with a terrestial 
globe. Scroll border to rim. 


Diameter, 11 inches. 


503—PuLatTEe 


Italian majolica of the Nineteenth Century. Deco- 
rated on a white ground with a medallion of an archi- 
tectural subject and a floral border in brown, yellow, 


blue and green enamels. 
Diameter, 12 inches. 


504—PuatTr 


French faience (Rouen) of the Eighteenth Century. 
Decorated on a white ground with the figure of a 
French grenadier and the inscription, ‘““Ma Vie est ma 
Patrie, 1'789,”’ and the date “l’an 4 de la liberté.”” The 
rim is decorated with a border of floral festoons. 
Cracked and riveted. 


Diameter, 9 inches. 


: 505—Puate 

Staffordshire ware. About 1820. Decorated in dark 
blue, with the Union line steamboat running from New 
York to Troy. The border is of a shell and seaweed 
pattern. Mark, ‘““E. Wood & Sons, Barslem,” im- 
pressed. 


Notrre.—This specimen is described under Barber’s No. 
7 and the Border No. 1, Type a. 


Diameter, 934 inches. 


506—PuLatTE 


Staffordshire ware. About 1824. Decorated in dark 
blue, with a view of the landing of Lafayette at Castle 
Garden in 1824. Border of flowers and foliage. 
Marked, ‘“‘Clews,” impressed. 


Norr.—This is Barber’s No. 59. 


Diameter, 10 inches. 


507—Ewer with Hanpie 
Italian lustre faience of the Sixteenth Century. Pear- 
shaped body, with cylindrical neck and straight han- 
dle. Covered with a dark blue glaze and decorated in 


copper on greenish-gold lustre, with a decoration of 
vertical stripe and the sacred monogram surmounted 


by a cross. 
Height, 7 inches. 


508—PuLaQuE 


French porcelain of the Nineteenth Century. Deco- 
rated in enamels on a black background, with a figure 
of a cupid watering a rosebush. By M. Deck of 
Paris. Marked, T. H. Deck. Framed. 

Height, 12 inches; width, 8%, inches. 


509—Puate 


French porcelain of the Nineteenth Century. Deco- 
rated on a white ground with birds and sprays of bam- 
boo. By M. Deck of Paris. Marked, T. H. Deck. 


Diameter, 914 inches. 


510—PuateE 


French porcelain of the Nineteenth Century. Deco- 
rated on a white ground with a hawk seizing a small 
bird, in the Japanese style. By M. Deck of Paris. 
Marked, T. H. Deck. 3 


Diameter, 914 inches. 


511—Ostone PiLaauEt 


English (Royal Worcester) ware of the Nineteenth 
Century. Modelled in high relief with the subject of 
a triton and an amorino astride two dolphins. Col- 


ored and glazed. 
Height, 7 inches; length, 13 inches. 


512—Cur AND SAUCER 


Capo di Monte porcelain of the Eighteenth Century. 
Of a fine white paste. The cup decorated with a_sub- 
ject, in relief and colored, of the Deluge. The saucer 
with garlands of flowers and cartouches in relief and 
colored. Mark, N. crowned in blue. 

Height, of cup, 134 inches; diameter of saucer, 414 inches. 


518—PuatTe 


Neapolitan porcelain of the Nineteenth Century. Dec- 
orated in the Capo di Monte style, with a subject in 
relief and colored of “The Family of Darius Appeal- 
ing to Alexander.” The rim is decorated with medal- 
lion portraits of Venetian doges. Marked N. in blue. 


Diameter, 814 inches. 


514—PuatTEe 


Neapolitan porcelain of the Nineteenth Century. Dec- 
orated in the Capo di Monte style, with a subject in 
“Roman Soldiers Seizing Women at the Bath.” The 
rim is decorated with medallion portraits of Roman 


Poets. Marked, N. in blue. 


Diameter, 8 inches. 


-515—Puate | 


Vienna porcelain of the Nineteenth Century. Elabor- 
: ately decorated in dull and burnished gold and brown 
: and blue. The centre has a figure in gold, heightened 
| by lines of relief, of “Europa and the Bull.” The bor- 
der is decorated by panels of arabesque ornaments in 
gold on a blue ground. Mark, Shield in blue. 
“a Diameter, 91, inches. 
516—Ovat Tray 
Vienna porcelain of the Nineteenth Century. Deco- 
rated in the centre with a painting of “Hercules and 
Orpheus,” surrounded by a diaper pattern in gold on 
a silver ground. The rim is decorated with arabesques 
in gold on a bleu-de-roi ground. Mark, Shield in 


blue. 
Length, 11 inches; width, 8 inches. 


517—PuatTe 
American faience of the Nineteenth Century. Deco- 
rated with a painting in enamel colors on a blue 
ground of a bird and daisy blossoms, surrounded by a 
floral border. Signed at back, “‘Bennett. 1877.” 


Diameter, 121%, inches. 


518—PuaTe 
Dutch majolica of the Nineteenth Century. Deco- 
rated in the centre with a pattern in slight relief and 
colored, of scrolls and leaf forms. The border has 
a pattern, pierced, modelled and colored, of vine leaves 
and grapes. Marked, “A. Klammerth.” | 


Diameter, 131%, inches. 


519—VasE 


American faience of the Nineteenth Century. Beaker- 
shaped, with wide mouth. Decorated on a dark blue 
ground with an underglaze decoration of apple blos- 


soms. Signed, “Bennett. 1880.” 
Height, 61% inches. 


520—Parr or VASES 


French majolica of the Nineteenth Century. Pear- 
shaped body, with cylindrical neck and shaped handles. 
Decorated on a dark brown ground with a design of 
apple blossoms in enamels. Marked, “Laurin.” 


(Bourg-la-Reine.) One damaged. 
Height, 13 inches. 


521—Pair or Vases 


French porcelain of the Nineteenth Century. Club- 
shaped, with cylindrical necks and swan head handles. 
Decorated on a green ground with subjects of birds and 


convolvulus blossoms in white slip. 
Height, 1414 inches. 


522—VasE 


English pottery of the Nineteenth Century. Beaker- 

shaped, with wide mouth and two ring handles. Cov- 

ered with a silver lustre glaze over a black body. 
Height, 73, inches. 


523—VasE 


French porcelain of the Nineteenth Century. Oval 
shape. Covered with a finely crackled turquoise-blue 


glaze and decorated underglaze in dark blue with 
figures of crabs, cuttlefish and seaweed, in the Japanese 


style. 
Height, 11 inches. 


524—-Partr or Vases ON PEDESTALS 


French porcelain of the early Nineteenth Century. 
Urn-shaped, with mask and loop handles, standing on 
square bases supported on lion’s claw feet. The vases 
are decorated with alternate vertical stripes of blue 
and gold arabesques, and with raised “jewels” of red 
and green. ‘The bases are of blue with gold ara- 


besques. 
Height, 13 inches. 


525—Bow.u anp Ewer 


German porcelain of the Nineteenth Century. The 
ewer is pear-shaped, with scrolled handle and hinged 
cover. ‘The bowl has a pierced plateau to receive ewer. 
Decorated in the Dresden style with blue and pink flut- 
ings and floral sprays on a white ground. 

Height of ewer, 13 inches; diameter of bowl, 141 inches. 


526—PuLaaueE 
French porcelain of the Nineteenth Century.  Cir- 
cular shape, with a portrait of a lady in a purple vel- 
vet cap with ostrich plumes on an ivory white ground, 
surrounded by a border of a floral scroll in blue on a 
black ground. By M. Deck of Paris. Signed, “TI. H. 
Deck.” Framed. 


Diameter, 161%, inches. 


527—PLaavuE 
French porcelain of the Nineteenth Century. Circular 
shape, decorated on a purple ground with a subject 
of a kingfisher, butterflies and peonies in natural colors. 
By M. Deck of Paris. Signed, ‘“T’. H. Deck.” 


Diameter, 17 inches. 


528—Tapestry Paneu 


Gobelins tapestry of the early Eighteenth Century. 
Oblong upright panel of Gobelins weave representing a 
symbolic figure of Abundantia, seated, and holding in 
one hand a cornucopia filled with fruit; with the other 
hand she caresses a child who stands at her side. This 
panel is in a state of unusually perfect preservation. 
Framed. 

Height, 31 inches; width, 18 inches. 

529—Bow.u 


English glass of the Nineteenth Century. Semi-oval 
shaped and formed of ivory-white, red and green glass 
in imitation of a Chinese original. 
Height, 44% inches. 
530—VaseE 


Bohemian glass of the Nineteenth Century. Vase- 
shaped body and flaring mouth. Millefiori glass in 
imitation of a Sixteenth Century Venetian original. 
Height, 10%, inches. 

§31—PLAQUE 
Roman mosaic of the Eighteenth Century. Oval 
shape, with a subject of a bird sitting on the bough 
of a tree, in natural colors against a white back- 

ground. 
Length, 634 inches; width, 434 inches. 

532—PLaQuE 


‘Florentine marble inlay of the Nineteenth Century. 
Subject: “Chickens Feeding”; treated in an inlay of 
colored stones and onyx on a ground of black marble. 
Signed, ‘‘Merlini.” 

Height, 634, inches; width, 8%, inches. 

533—Carvep Ivory Horn , 

German of the Eighteenth Century. Carved in the 
style of the Sixteenth Century and in relief, with a 
subject of a wild boar hunt. The point carved as a 


hound’s head. 
Length, 16 inches. 


534—Ivory TANKARD 


Dutch of the Nineteenth Century. Section of tusk. 
carved in the style of the Sixteenth Century, with young 


bacchanals. Scrolled handle applied. | 
Height, 51%, inches. 


5385—Derrer Puate 


French enamel of the Nineteenth Century. Decorated 
in the style of Limoges, of the Seventeenth Century, 
with a portrait of Henry Schwend, after Diirer. The 
border is decorated with grotesques and scrolls in light. 


colored enamels on a brown ground. 
Diameter, 12 inches. 


536—Parir oF PLaQuEs 


French of the Nineteenth Century. Opalescent and 
gilded glass with subjects of a youth at the prow 
of a boat and a nymph, in a cameo effect of white 
opalescent glass on a background of a diaper in gold. 


Framed. 
Height, 61%, inches; width, 44, inches. 


5387—Metau PraauEt 


German, in the style of the Sixteenth Century. 
Bronze repoussé with a knight on horseback, with his 
hawk on his wrist. Framed. 

Height, 614 inches; width, 5 inches.. 


5388—Merat Piaaue 


German, in the style of the Sixteenth Century. Bronze 
repoussé with a half-length portrait of a lady in a high 
ruff holding a fan. Heightened with gilding. 

Height, 73, inches; width, 6 inches. 


589—Hanp Brazier 


Italian of the Seventeenth Century. Copper repoussé 

and pierced in a design of shells, scrolls and bunches 

of grapes. Hinged lid and short wooden handle. 
Length, 91% inches. 


540—Pair or GIRANDOLES 


Dutch of the Seventeenth Century. Circular form, 
with two branches for lights. Of brass repoussé in 
the one case, in a design of Adam and Eve in the 
Garden of Eden, surrounded by a border, pierced, and 
with panels of hunting subjects; in the other the cen- 
tral design is of a heraldic lion with a shield, sur- 
rounded by a border of piercings, fleur-de-lis and me- 
ander pattern. The arms for candles are of cast work. 
Originally these formed the covers of warming pans. 
Diameter, 12 inches. 


541—PLaqQuE 


Dutch of the Seventeenth Century. Circular shape, 
of brass repoussé in a design of “Aaron’s Spies Re- 
turning from the Promised Land” with the bunch of 
grapes and surrounded by a diamond and lozenge bor- 


der. 
Diameter, 151% inches. 


542—Bronze PLAQuE 


543—BRAZIER 


Saracenic (Mosul) of the Fourteenth Century. 
Beaker-shaped body with dome-shaped cover and 
swinging handle. Of brass decorated with an elabo- 
rate pierced and engraved design of flowers and foli- 
age, surrounding circular panels in which are figures 
of knights, with bows and arrows, on_ horseback. 
Around the rim runs an inscription in Kufic characters. 

Height, 91% inches. 


544—Patr or Mantet Vases 


German or Swiss of the late Eighteenth Century. Of 
pewter and tin japanned in solid green. Urn-shaped, 
with pointed cover ending in acorn finials, and ring 
handles depending from lion’s heads. On either side 
are engraved landscapes printed in transfer, represent- 


ing scenes in the Tyrol. 
Height, 13 inches. 


545—Ixon or Hoty Picture 

Russian of the Eighteenth Century. Picture of a 
saint in cope and mitre, the right hand holding a Bible, 
the left raised in the gesture of blessing. Above are 
portraits of Christ and the Virgin. Only the faces and 
hands are painted. ‘The remainder consists of re- 
poussé metal pierced with openings and superimposed. 
Framed. 

Height, 14 inches; width, 12 inches. 


546—Haneine Crock 
Dutch of the Eighteenth Century. The face is of brass 
repoussé in a scrolled pattern, the actual dial of sil- 
vered copper. ‘The pendulum hangs in front of the 


face.. Hands missing. 
Length, 15 inches. 


: 547—Haneine Crock on STAnpD 

| Dutch of the Eighteenth Century. The face is of 
brass repoussé in a very elaborate arabesque design of 
scrolls and floral motives. The dial is of brass. This 
clock is arranged to hang by the usual brass ring and 
also to stand on a pedestal of mahogany with appliqué 


decorations of cast brass. 
Height including stand, 24 inches. 


548—AntieutE Manocany WINE CooLer 
Openwork design lined with brass. 


549—Gem TABLE 


Old English marquetry. Straight slender legs, and 
crossed underbrace. Glass top. Velvet lined. 
Height, 32 inches; width, 211% inches. 


550—AntTIavE Convex Mirror 
Gilt frame, surmounted by carved scrolls, and a spread 
eagle. 


Diameter, 23 inches. 


551—AntTieuE Convex Mirror 
Gilt frame. 


Diameter, 27 inches. 


552—TaBLe SECRETARY 


Old Spanish. The inner surface covered with mar- 
quetry of floral scroll design artistically executed, the 
outer surface of rosewood parquetry. Has four claw 
feet, and the drop lid ornamented with a Castilian coat 
of arms of repoussé brass. 


Height, 17 inches; width, 26 inches. 


553—-Bric-a-Brac CABINET 


Pear wood, with ebonized mouldings. Beveled front, 
with inserted glass, lined with blue velvet. | 
Height, 62 inches; width, 30 inches. 


554—Grem CABINET 


With slanting top. Carved walnut, lined with yellow 
brocade. 


Height, 33 inches; length, 40 inches. 
555—Bric-a-Brac CABINET 


Carved ebonized wood. Glass front and sides and mir- 


ror back. . 
Height, 69 inches; width, 40 inches. 


THIRD AFTERNOON’S SALE 


THURSDAY, APRIL 20, 1911 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 o’cLOCK 


MINIATURE AND OTHER CABINET OBJECTS 


556—F LEMIsH INTERIOR 


Attributed to Louis Fedor. Subject in the style of 
the Seventeenth Century Flemish genre painters. <A 
mother preparing an infant for his sleep. One little 
girl hangs expectantly over the cradle, while another 
warms a linen cloth before the fire. To the right a 
stone canopied fireplace; in the background a cottage 
interior with clothes hanging on a line, etc. Painted 
on ivory. Unsigned and undated. In modern brass 


frame. Circular shape. 
Diameter, 254 inches. 


557—Mosatic 


Landscape subject with ruined castle in the middle 
distance and figures in the foreground. ‘‘Roman” 
mosaic. Forms the lid of a tortoise shell snuff box, 
lined and mounted in gold and silver gilt. Eighteenth 
Century, Italian. Rectangular shape. 

Size, 254 inches by 15% inches. 


558—ENnAMEL PAINTING 


Artist unknown. Subject: “The Rendezvous.” A girl 
in a white costume of the Empire period, waits under 


a tree, while a French soldier peers through the fence. 
Painted in enamel on copper. Ormolu frame. Vien- 
nese, Nineteenth Century. Oval shape. 

Size, 414 inches by 2%, inches. 


559—PaintTine In MINIATURE 


Artist unknown. Subject: “Les Amants.” Painted 
on ivory. Unsigned and undated. 


560—Paintine In MINIATURE 


Artist unknown. Copy in miniature of “La Forna- 
rina,” once attributed to Raphael, but now recog- 
nized as by Giulio Romano. Painted on ivory. Un- 
signed and undated. (Probably Italian of the Eight- 
eenth Century.) In modern ormolu frame. Oval shape. 

Size, 234 inches by 2%, inches. 


561—Paintine In MINIATURE 


Artist unknown. Subject: Pomona and Cupid. 
Painted en camaieu in gouache on a black background. 
Painted on ivory. Unsigned and undated. In white 
metal and gilt frame, with setting of paste diamonds 
and ornamental hook for hanging. Rectangular shape. 

Size, 1% inches by % inch. 


562—Paintine IN MINIATURE 


Artist unknown. Subject: A scene from an Eight- 
eenth Century play. Painted on ivory. Unsigned and 
undated. (About 1775.) In modern ormolu frame. 
Oval shape. 


Size, 6 inches by 414 inches. 


563—A Group or ELevEN Portraits 
Names unknown. Artists unknown. Of various dates, 
but in similar styles. Painted in oils on copper. 
Framed and unframed. Oval shapes. 
Various sizes. 


* 


564—Enamet ParintTine 


Artist unknown. Subject: Daphnis and Chloe; 
Daphnis in a yellowish-green tunic seated on a 
mossy bank and holding a shepherd’s pipe in one hand; 
Chloe in a red robe holds his other hand and points to 
the distance. Background a rocky landscape, with 
a stream of water. Blue sky and purplish clouds. 
Painted on copper. Unsigned and undated. In mod- 


ern frame. Oval shape. 
Size, 3 inches by 214% inches. 


565—Parntine In MINIATURE 


Artist unknown. Subject: The Fairy Tale. An old 
woman telling a thrilling story to a crowd of boys. 
Painted in oils on copper. Unsigned and undated. 
Inscribed on back, “L’ogre a mangé!”’ Chased or- 


molu frame. Circular shape. 
Diameter, 31% inches. 


566—Paintine 1n MIntIaATURE 
Artist unknown. Subject: St. Jerome, with long 
white beard, fur trimmed robe and gold halo. Painted 
in watercolors on paper. Signed, “Ft. C. V. H. 
ANNO 1692. 3a. Hamburg.” In square ebony 


frame. Oval shape. 
Size, 334 inches by 25% inches. 


567—Paintine 1n MIniatTuRE 


Artist unknown. Subject: The Dove with the Olive 
Branch. Painted on ivory. Unsigned and undated 
In modern metal frame. Circular shape. 

Diameter, 11, inches. 


568—Retier Mepazion 
Head of Roman warrior. Modeled in composition to 
imitate ivory and mounted on translucent alabaster. 
In square ebony frame. Oval shape. 
Size, 3 inches by 2% inches. 


569—TorroisrE SHELL SnNuFF Box 


Circular shape. Carved in high relief and undercut. 
In the centre of lid a medallion portrait of Shakes- 
peare, surrounded by a carved design of mulberry 
branches and leaves. At the bottom a Latin inscrip- 
tion: “Born at Stratford, England, 1564. Dated, 
1616.” English, Eighteenth Century. 


Diameter, 33/4, inches. 


570—Paintine In MINIATURE 


After Tiziano Vecellio. Copy by an unknown artist 
of the Eighteenth Century, of Titian’s “Dance and 
the Shower of Gold,” now in the gallery at Naples. 
Painted on ivory (cracked). In old pearwood frame. 
Rectangular shape. | 
Size, 51% inches by 61% inches. 
571—Paintines 1n MIntaTuRE 


Artist unknown. Octagonal panel of glass with paint- 
ing of a young girl with clasped hands before an altar, 
on which two hearts are burning, surrounded by four 
panels of paintings, en camaieu, of cupids and emblems 
on black grounds, painted on glass. Unsigned and un- 
dated. Forming the lid of a bonbonniére of tortoise 
shell, with chased gold mounting. Circular shape. 
Diameter, 214 inches. 


572—PaintTine 1n ‘MINIATURE 


Artist unknown. Subject: A young girl seen at three- 
quarter length and facing the spectator. Light brown 
hair and blue eyes, dressed in an Eighteenth Century 
short-sleeved costume of light blue striped material, 
and with her elbows resting on a cushion. Over her 
head she holds in both hands the handle of a wicker 
basket, which takes the place of a hat. Blue sky and 
cloud effects for background. Painted on ivory. Un- 
signed and undated. (French of the late Eighteenth 
Century.) In modern ormolu frame. Oval shape. 
Size, 4 inches by 3% inches. 


573—PaintTine In MINIATURE 


Artist unknown. Ideal figure of a young girl with 
flowing hair, crowned by a wreath of roses. Her head 
is turned over her left shoulder so as to face the spec- 
tator, and in her left hand she holds a violin. She 
is dressed in a pink robe with a flowing fichu of white; 
background of conventional blue drapery. Painted on 
ivory. Unsigned and undated. In ormolu frame. 


Oval shape. 
Size, 6144 inches by 41% inches. 


574—PaIntTiIne IN MINIATURE 


Artist unknown. Subject: Landscape, with a shep- 
herdess preparing to bathe. At her side is one of her 
flock, while her dog springs forward as he flushes a 
bird. Painted in lacquer on composition. Forms the 
back of a silver and tortoise shell watch case, which 
has been converted into a compass case. Late Eight- 


eenth Century. Circular shape. 
Diameter, 244 inches. 


575—Virew or THE “Prart Moseaur” at AGRA 


Artist unknown. View from outside the great court- 
yard. Blue sky with light white clouds. Painted on 
ivory. Unsigned and undated. In pulsh frame. Rec- 


tangular shape. 
Size, 334 inches by 2% inches. 


Of the Moti Masjid or “Pearl Mosque,” which is the 
most celebrated mosque of Indo-Mahometan architec- 
ture, Mr. Ferguson says that in design it resembles 
the great mosque at Delhi, except that the minarets 
are omitted. The western part is of white marble, in- 
side and out; and except an inscription from the 
Koran inlaid with black marble as a frieze, it has no 
ornament whatever beyond the lines of its own grace- 
ful architecture. 


576—View or THE “Great Mosaue” at DELHI 
Artist unknown. View is from one side of the great 
courtyard, with the pool in the foreground. Blue sky, 
with light white clouds. Painted on ivory. Unsigned 
and undated. In plush frame. Rectangular shape. 
Size, 334 inches by 21% inches. 


The Jaémé Masjid or “Great Mosque” of Delhi, begun 
by Shah Jahan in the fourth year of his reign, 1631, 
and completed in 1637, still remains one of the finest 
buildings of its kind in India. Its front courtyard, 
450 feet square, commands a view of the whole city. 
The interior of the mosque is paved throughout with 
white marble, and the walls and roof are lined with 
the same material. The entire building forms an ob- 
long 261 feet in length. 


577—Portrait oF RAPHAEL 
By E. Garinei. Copy of Raphaél’s portrait of him- 
self. Painted on ivory. Signed, E. Garinei. Oval 


shape. 
Size, 234, imches by 2% inches. 


578—PortTRAIT OF NaPotEeon 
After Isabey. Bust length, Three-quarter view of 
face looking towards the right. Stipple engraving, 


colored. Silver frame set with paste. Circular shape. 
Diameter, 114 inches. 


579—Porrrait or REMBRANDT 
After Rembrandt. Copy of miniature of Rembrandt’s 
well-known portrait of himself in “Corset and Flat 
Cap.” Painted in oils on mahogany panel. Nine- 
teenth Century. In metal frame. Oval shape. 
Size, 3 inches by 21% inches. 


580—Porrrait oF Marie ANTOINETTE (?) 


Artist unknown. Bust length. Full face, with head 
held slightly sideways. Powdered hair dressed over 


: high cushion, with falling ringlets. White hat with 
rose colored ostrich plume. Light blue bodice cut 
square and very low in front. Dark background. 
Painted on ivory. Unsigned and undated, but in 
the school of J. B. Isabey. In white metal frame. 


Oval shape. 
Size, 31, inches by 21% inches. 


581—Porrtrair or BEAUMARCHAIS 


Artist unknown. Bust length. Profile view of face 
looking toward the right. Tie-wig, black high-collared 
coat and white cravat. Colored stipple engraving. In 
modern ormolu frame. Oval shape. 

Size, 3 inches by 21 inches. 


582—Porrrait oF Princess Murat (Carorine Bonaparte, 
1782-1839) 
Half-length three-quarter view of face looking to the 
left. High-waisted, short-sleeved dress of the Empire 
period. Stipple engraving, colored. In modern gilt 


frame. Oval shape. 
Size, 414 inches by 3%, inches. 


583—Porrtrair oF Rousseau (1712-1778) 


Artist unknown. Bust length. Profile view of face 
looking towards the right. Colored engraving. In 
modern ormolu frame. Oval shape. 

Size, 24, inches by 1% inches. 


584—PortTrait oF JosePH Bonaparte, Kine or Napies 


Artist unknown. Bust length. Three-quarter view of 
face looking towards the left. Colored engraving. In 
modern ormolu frame. Oval shape. 

Size, 34% inches by 23% inches. 


585—Porrrait or Kine or DELHI 


Artist unknown. MHalf-length. Three-quarter view 
looking towards the left. Dark beard, moustache and 
whiskers, brown eyes. Wears a twisted turban of white 
gold-embroidered muslin with gold fringe. Dress of 


blue, gold-embroidered silk with green pearl fringed 
and embroidered collar. Seated in a shaped and 
painted chair. Green background. Painted on ivory. 
Unsigned and undated. By European artist. In mod- 


ern frame. Oval shape. 
Size, 21% inches by 2 inches. 


586—Portrait OF A GENTLEMAN 
Artist unknown. Half-length. Full face, inclined 
slightly over the left shoulder. Curly brown hair and 
gray eyes. High collar and cravat tied in a bow with 
frilled shirt front. White waistcoat, a double-breasted 
blue coat with brown edging, high roll collar and brass 
buttons. Gray background. Painted on ivory. Un- 
signed and undated, but about 1810. In old ormolu 


frame. Circular shape. | 
Diameter, 3 inches. 


587—IbEAx Portrait or A WoMAN 


Artist unknown. Bust length. Three-quarter view 
of face looking towards the left. Curly hair with 
garland of flowers. Classic robe, exposing the left 
breast. She holds a flower to her face in the right 
hand. Painted in enamel on copper. Unsigned and 
undated. In ebony frame. Oval shape. | 

Size, 2 inches by 114 inches. 


588—PortrRaiT oF 4 YOUTH 
Artist unknown. Bust length. Three-quarter view of 
face looking towards the right. Powdered wig, fur 
trimmed red coat and lace cravat. Painted in oils on 
copper. In old ebonized frame. Oval shape. 
Size, 1144 inches by 1% inches. 


589—Porrrait or Henrik Kasimir, Grar or NEssEN 
Artist unknown. Bust length. Profile view of face 
looking towards the left. Painted in oils on copper. 
In old brass frame. Oval shape. 
Size, 2Y, inches by 2 inches. 


590—Porrrarr or Oxiver CROMWELL (?) 


Artist unknown. Bust length. Three-quarter view of 
face looking towards the right. Painted in oils on 
copper. In old brass frame. Oval shape. 


591—Portrait oF ABBE GREGOIRE 


Artist unknown. Bust length. Three-quarter view of 
face looking towards the right. In wig, cassock and 
ecclesiastical bands. Red background. Painted in 
oils on copper. In old brass frame. Oval shape. 

Size, 134 inches by 13% inches. 


592—PortTralT oF AN ENGLISH OFFICER 


Artist unknown. Bust length. Three-quarter view of 
face looking towards the right. Brown curly hair, 
gray eyes, clean shaven face. Dressed in an English 
uniform of the first decade of the Nineteenth Century. 
Red coat with blue facings and gold epaulets. Back- 
ground of blue sky. Painted on ivory. Unsigned and 
undated. In gilt locket frame. Oval shape. 

Size, 21% inches by 2 inches. 


§93—Porrrait or A Lapy 


Artist unknown. Bust length. Three-quarter view 
looking to the left. Reddish hair dressed close to the 
head in short curls. Brown eyes. Large lace ruff 
and black velvet dress with black spherical buttons. 
Black background. Painted on ivory. Unsigned and 
undated. Modern ormolu frame. Rectangular shape. 

Size, 21% inches by 45% inches. 


594—PortTralt or A LApy 


Artist unknown. Bust length. Three-quarter view of 
face looking to the right. Brown hair in ringlet un- 
der a white cap. Brown eyes. High-waisted black 
dress of Empire period and white lawn fichu. Light 
background. Painted on ivory. Unsigned and un- 
dated. In ivory frame. Oval shape. 

Size, 3 inches by 21% inches. 


595—Porrrait oF A Lapy 


Artist unknown. Three-quarter length. View of face 
in profile looking towards the left. Dark hair, simply 
arranged under a mop-cap of lawn. She wears a lawn 
fichu over a light colored dress, and holds in one hand 
a half opened book below the level of her waist. Back- 
ground graduated from dark at the left to light at the 
right-hand side. Painted on ivory. Unsigned and un- 
dated. In chased gold locket frame. Oval shape. 


Size, 2 inches by 11% inches. 


596—Porrrair or Marie ANTOINETTE 


Artist unknown. Half-length. Almost full face, 
turned slightly towards the left. Powdered hair, 
dressed in curls and falling ringlets. Dark blue eyes. 
Simple fichu of lawn with pink rose at breast over a 
blue bodice with falling collar and lapels. Dark red- 
dish-brown background. Painted on ivory. Unsigned 
and undated. In white metal frame set with paste 


diamonds. Oval shape. 
Size, 24% inches by 2 inches. 


597—Porrtrair oF a LADY 


Name unknown. After Richard Cosway. Bust length. 
Powdered hair dressed over a cushion; blue eyes. White 
bodice trimmed with lace. Blue background. Painted 
on ivory. In modern gilt frame. Oval shape. 

Size, 314 inches by 3 inches. 


598—PortTRAIT OF THE COUNTESS OF DUDLEY 


Artist unknown. Bust length. ‘Three-quarter view of 
face. Hair powdered and dressed over high cushion. 
Painted on ivory. Set in a gold ring, with a mounting 
of wrought silver and chip diamonds. French, of the 
Nineteenth Century. Rectangular shape. 

Size, % inch by %&% inch. 


5 a 


599—Porrrair or A GENTLEMAN 


Artist unknown. Bust length. Three-quarter view 
of face looking towards the right. Curly brown hair 
and small side whiskers, and blue eyes. He wears 
a black roll collared coat, a high white collar, and 
frilled cravat. Light background. Painted on ivory. 
Unsigned and undated. In chased gold locket frame, 
with oval receptacle at back for hair. Oval shape. 
Size, 21, inches by 2 inches. 


600—Porrrait oF A LADY © 


Artist unknown. Bust length. Profile view of face 
looking towards the left. Hair dressed in early Vic- 
torian fashion in high knot on top of head, with long 
ringlets falling over the cheek. Black velvet dress. 
Blue background. Painted on ivory. Unsigned and 
undated. In modern ormolu frame. Oval shape. 

Size, 114 inches by 1 inch. 


601—Porrrait or a Man 


Artist unknown. Bust length. Three-quarter view of 
face looking towards the left. Curly dark hair, mous- 
tache and pointed beard. Costume of the Sixteenth Cen- 
tury of dark blue embroidered with gold, and square 
lace trimmed collar. Light greenish background. 
Painted on ivory. Unsigned and undated. Evidently 
a copy of an earlier original. In modern ormolu frame. 
Oval shape. 

Size, 336 inches by 214 inches. 


602—PorrTrair or Dovucias Dovewass 


Artist unknown. Bust length. Three-quarter view 
of face, looking towards the right. Long, straight, 
fair hair, dark blue eyes. Dressed in a naval uniform 
of the first quarter of the Nineteenth Century. High 
standing collar and black stock. Black coat, piped 
with silver, with standing collar, rolled lapels and brass 


buttons. White waistcoat. Grayish background. 
Painted on ivory. Unsigned and undated. In gold 


locket frame. Oval shape. 
Size, 25, inches by 23% inches. 


603—Portrait oF ALEXANDER I, Emprror or Russia 


(1777-1825.) Artist unknown. Half-length. Three- 
quarter view of face looking towards the right. Mili- 
tary uniform, green coat with gold lace collar and gold 
buttons crossed by blue ribbon of an order on left 
breast. White sash. Light background. Painted in 
soft enamel on copper. Unsigned and undated. 
Mounted in the back of silver watch by Brequet Fils 
(of Paris). Date about 1810. Circular shape. 


Diameter, 1% inches. 


604—PorTRAIT OF THE Duc DE BERRI 


Artist unknown. Bust length. Full face turned 
towards the right. Brown hair parted on the left, and 
side whiskers; hazel-colored eyes. Black coat with 
high rolling collar, striped yellow waistcoat, standing 
collar and white cravat. Dark background. Painted 
on ivory. Unsigned and undated (about 1820). Gold 
rim, mounted in square ebony frame. Oval shape. 

Size, 24% inches by 2% inches. 


Charles Ferdinand d’Artois, Duc de Berri, the younger 
son of Charles X of France, was born at Versailles in 
1778. At the time of the Revolution he had, with his 
father, the Comte d’Artois, to leave France and served 
for several years in the army of Condé. Later, he took 
up his residence in England, but returned to France 
in 1814, when his father was appointed regent for 
Louis XVIII. He increased his popularity in 1816 
by his marriage with Princess Caroline of Naples. On 
February 13, 1820, he was assassinated, as he left the 
Opera House, by an Orleanist partisan named Louvel. 


605—Portrait or a LAapy 


Artist unknown. Three-quarter length. Three-quar- 
ter view of face looking towards the right. Light 
brown hair dressed high under a lace cap. Rose-col- 
ored dress with half sleeves, square opening at neck 
and high waist. She holds in the right hand a fan. 
Green-colored background. Painted on ivory. Un- 
signed and undated. French, Nineteenth Century. 
Forming the lid of a bonbonniére of green lacquer, 
having a pattern of imbrications and chased gold 
mounting. Miniature, oval shape. Box, circular 
shape. 
Size miniature, 134, inches by 11% inches. 
Size box, diameter, 3 inches. 


606—Porrrait oF a Lapy 


Artist unknown. Bust length. Three-quarter view of | 
face looking towards the left. Curly brown hair and 
gray eyes. A transparent black lace shawl thrown 
over the head and falling across the bare shoulders. 
Dark greenish background. Painted on ivory. Un- 
signed and undated. Forms part of the decoration 
(under a spring lid) of an octagonal-shaped patch box. 
of ivory, gold and sapphire-blue glass (about 1775). 


Miniature, oval shaped. 
Size, 154 inches by 1% inches.. 


607—Porrrair oF Mozart as A YOUTH 


Artist unknown. Bust length. Three-quarter view of 
face looking towards the left. Powdered hair tied 
with a black ribbon at back; gray eyes. Purple velvet 
coat with lapels and cut steel buttons, white waistcoat 
with lapels. Lawn cravat tied in a bow, with falling 
ends. Greenish background on left running to dark 
on the right. Painted on ivory. Unsigned and un- 
dated (about 1770). In gold locket frame. Oval 
shape. 


Size, 154 inches by 1% inches.. 


Wolfgang Amadens Mozart was born at Salzburg in 
1756. At four years of age he was a composer, and 
at five he performed in public. In his sixth year, taken 
by his father “on tour” as a musical prodigy, he cap- 
tured the critical public of Vienna, and endeared himself 
by his innocent and natural manners to the Emperor 
Francis I. Unlike most “infant prodiges,” however, he 
developed into a great musician. During his short life 
he produced an amazing quantity of music of an inex- 
pressible charm, for he composed with wonderful celer- 
ity. “Don Giovanni,” “Figaro,” and the “Magic 
Flute” are among those of his operas which still hold 
the boards. He died under distressing circumstances in 


UTR 


608—Porrrait oF Doctor JOHNSON 


Artist unknown. MHalf-length. Full face. Curled 
wig, clean shaven face, blue eyes. Wears a green 
collarless coat, opened in front to expose the white 
lawn “bands.” Dark background. Enamel painting 
on copper. Comparatively modern. In ormolu frame, 
with “D. S. Johnson” in blue enamel. Oval shape. 
Size, 2 inches by 11% inches. 


609—Portrait oF A YOUTH 


Artist unknown. Half-length size. Three-quarter 
view of face looking towards the right. Long fair 
hair, dressed in long ringlets, and brown eyes. Dressed 
in a pale green jerkin slashed at the sleeves and open 
in front so as to show the white shirt beneath. At the 
neck a long cravat of white lawn. Painted in oils on 
copper, and inscribed in the corners, “B. P. 1662. 
4 SUA, 22.” This portrait has been mistakenly 
identified as one of Milton in his youth. Milton was 
born, however, in 1608. Rectangular shape. 

Size, 614 inches by 5 inches. 


610—Porrrait or a Youne Lapy 


Artist unknown. Bust length. Three-quarter view 
of face looking towards the left. Curly dark brown 
hair, dressed away from the forehead, with corkscrew 
curls by the ears. Low-necked, high-waisted and 
sleeveless black dress of the Empire period. Double 
row of pearls as necklace. Light background. Painted 
on ivory. Unsigned and undated. In old black 


painted frame. Oval shape. 
Size, 2 inches by 11% inches. 


611—Porrrait or a Lapy 


Artist unknown. Full length, seated. Light brown 

hair falling in ringlets over the shoulders; brown eyes. 

Leghorn broad-brimmed hat trimmed with blue ribbon. 

Pinkish dress of the style of 1830, edged with blue 

at the neck, and with a blue sash around the waist. 

| She is sitting on a chair under a tree and near a 

| stone wall, sewing on a piece of fancy work. Back- 

ground, a landscape with blue sky and white cloud ef- 

fects. Painted on ivory. Unsigned and undated. In 
square plush frame. Circular shape. 

Diameter, 21% inches. 


612—PorTrait or THE Mareauis or CHOLMONDELEY 


Artist unknown. MHalf-length. Full face looking 
towards the left. Gray and wavy hair. Brown eyes 
and clean shaven face. Double-breasted, high-collared 
coat, with the blue ribbon and star of the Order of the 
Garter. Voluminous lawn neckerchief. Purplish 
background. Painted on ivory. Unsigned and un- 
dated. In modern ormolu frame. This was lot 1224 
in the sale of the Georgina Cavendish Bentinck collec- 


tion. Rectangular shape. 
Size, 434, inches by 334 inches. 


George James Cholmondeley, the 4th Earl and the Ist 
Marquis of Cholmondeley, was born in 1744; suc- 


ly S OS OSH oR AT ee ea ety 4 > 
of F Le Ok ea Se 
’ ‘ % 


ceeded to the earldom in 1770, and was raised to the 
marquessate in 1818. He was a Knight of the Gar- 
ter, Lord Steward of the Household, and Chamberlain 
of Chester. He died in 1827. 


613—Porrrait oF Lapy JoHn RussELL 


Artist unknown. Bust length. Three-quarter view 
looking towards the left. Fair hair dressed in falling 
ringlets and a chignon, with a string of pearls inter- 
twined. Gray eyes. Dressed in a décolleté bodice of 
black with an ermine cloak falling away from the 
shoulders. A fine gold chain is looped around the 
neck, and attached to a diamond-shaped brooch, with 
three pear-shaped pearls as drops. Painted on ivory. 
Undated and unsigned. In old gold frame in locket 


form. Oval shape. 
Size, 354 inches by 3 inches. 


The subject of this miniature, Adelaide, daughter of 
Mr. Thomas Lister and the widow of the second Lord 
Ribblesdale, was married to Lord John Russell, in 
1835. She died, leaving two daughters, in 1838. 
Lord John Russell, son of one of the most famous of 
English Whig statesmen, was the introducer, in 1831, 
of the Reform Bill, and, thirty years later, it was 
chiefly his sympathy with the North during our 
Civil War that helped to restrain his country from 
entering the contest. He was raised to an earldom in 
1859 and died in 1878. 


614—Porrrair oF Wim II, Prince or ORANGE 


Artist unknown. Bust length. Three-quarter view of 
face looking towards the right. Painted in oils on 
copper. In old brass frame. Oval shape. 


Size, 3 inches by 214 inches. 


William II of Orange was the son of Frederick of 
Nassau and the grandson of William the Silent. He 


was born in 1626, and succeeded his father as stadt- 
holder of Holland in 1648. Married the daughter of 
Charles I of England. 


615—Porrrair oF THE PRINCE DE CONDE 


Artist unknown. Bust length. Three-quarter view of 
face looking towards the right. Painted in oils on 
copper. In old brass frame. Oval shape. 

Size, 2 inches by 114 inches. 


Louis de Bourbon was the first prince of the famous 
House of Condé. Born in 1530. While still in his twen- 
ties he joined the Huguenots and became one of their 
most brilliant military leaders. He was treacherously 
assassinated after the battle of Jarnac in 1569. 


616—Porrrait or James, Duke or Berwick 


Artist unknown. Bust length. Three-quarter view of 
| face looking towards the right. Clean shaven, in wig, 
| yellow coat and white steinkirk. Painted in oils on 
| copper. Unsigned and undated. Oval shape. 

Size, 2 inches by 11% inches. 


James Fitzjames, Duke of Berwick, was the natural 
son of James II. He was born in 1670. After his 
father’s fall from the throne he’ served in the French 
army, commanding in the low countries in Spain. He 


died in 1734. 


617—PortTrair oF A BURGOMASTER 


Artist unknown. Bust length. Three-quarter view of 
face looking towards the right. Long fair hair and 
moustache; brown eyes. Dressed in black with a square 
lace-edged collar; green background. Painted in oils 
on copper. Inscribed on back, “Huydewyser, Burge- 
meister, Amsterdam.” In old brass frame. Oval 


shape. 
Size, 3 inches by 21, inches. 


618—Portrait oF ABBE BARTHELEMY 


Artist unknown. Bust length. View of face in profile 
looking to the left. Wearing a wig, a dark green coat 
and the lawn bands of the ecclesiastic. Dark brown 
background. Painted in oils on copper. Unsigned 
and undated. In cast brass frame of Louis XV de- 


sign. Oval shape. 
Size, 234 inches by 1% inches. 


Jean Jacques Barthélemy, a celebrated French writer, 
was born at Cassis, on the Mediteranean, in 1716. 
Educated at the Jesuits’ College, Marseilles, he entered 
the priesthood at an early age, but devoted his life 
to the study of classical antiquities, becoming the sec- 
retary of the Academy of Inscriptions and Belles-Let- 
tres, and eventually a member of the French Academy. 
He died in 1795. He is chiefly known to posterity as 
the author of one of the most popular books of its class 
ever written, ““Le Jeune Anacharsis.” 


619—Porrrait oF A LADY AND CHILD 


Artist unknown. Nearly full length, seated. Three- 
quarter view of face looking downward and to the 
right. Black hair dressed in early Victorian fashion, 
with long hanging ringlets framing the face. Dress 
of olive-green, with long full sleeves and open at the 
neck with a fichu arrangement of white lawn and lace. 
She is seated in a chair over which is thrown a fold of 
red velvet drapery, and holds in her lap a baby in a 
long dress of white, the sleeves caught with scarlet 
ribbons, her left hand supports its head, and she at- 
tracts its attention with a gold and coral rattle, which 
she holds in her right hand. Background of gray, 
with a fold of purple drapery. Painted on ivory. Un- 
signed and undated, but about 1835. In wooden frame. 


Rectangular shape. 
Size, 41, inches by 334 inches. 


620—Porrrait or A Man 


Artist unknown. Bust length. Full face looking 
towards the left. Black hair completely concealing 
the forehead, brown eyes, clean shaven face. In mili- 
tary, German or Swiss, uniform of the early Nineteenth 
Century. Black coat, with scarlet piping, high collar 
and two rows of silver buttons in front. High black 
stock. Gray background. Painted on ivory. Unsigned 
and undated. On back is painted, under a floral 
wreath, “Die Zurich Erinnerung” (Souvenir of Zu- 
rich). In silver filigree frame, set with imitation 
jewels. Oval shape. — 

Size, 154 inches by 11% inches. 

621—Porrrair or Lapy SiprHorP 


Artist unknown. Half-length, seated. Three-quarter 
view of face looking towards the right. Dark, almost 
black, hair parted in the centre and falling in ringlets 
over the ears; blue eyes. Low-necked, black velvet 
dress showing the lace edge of chemisette. Black vel- 
vet ribbon around the neck, from which hangs a heart- 
shaped pendant of gold. Background of dark red 
drapery to the right, with glimpse of landscape and 
sunset on the left. Painted on ivory (cracked). Un- 
signed and undated, but inscribed on back 1809. In 
contemporary, square ormolu frame. Oval shape. 
Size, 414 inches by 3% inches. 


622—-Porrrair or JAMES I 


Artist unknown. Half-length. Full face looking 
towards the left. Short, curly, reddish-brown hair, 
moustache and square-cut beard; light blue eyes. 
Large white ruff embroidered with quatrefoils and a 
padded surtout of black velvet embroidered in gold 
and crossed by the blue ribbon of the Order of the 
Garter. Green background. Painted on ivory. Un- 
signed and undated. Probably a copy of an earlier 
original. In composition frame. Oval shape. 

Size, 24% inches by 2 inches. 


623—Porrtrair or CHartes I (WHEN Prince or WaALEs) 


Artist unknown. Bust length. Full face looking 
towards the right. Long curling hair, moustache and 
chin tuft; blue eyes. Deep white ermine collar semé 
with quatrefoils. Black coat, gold embroidered, with 
the blue ribbon of the Order of the Garter and a green 
and red clasp in front. Painted on ivory. Remains of 
signature at left, ? D. with date ? 24. Probably a 
copy of an earlier original. In tortoise shell frame. 
Oval shape. 

Size, 314 inches by 234 inches. 


624—PortTrRAIT OF AN EncuisH NAVAL OFFICER 


Artist unknown. Bust length. Three-quarter view 
facing to the left. He wears a wig and a black three- 
cornered hat, with a cockade looped with gold; a dark 
blue coat faced with red, trimmed with gold lace; a 
white waistcoat, a falling collar with a black stock, 
and a white lace steenkirk in the style of the second 
half of the Eighteenth Century. Dark background. | 
Painted on ivory. Mounted on black silk. In old © 


ormolu frame. Oval shape. 
Size, 13, inches by 1% inches. 


625—Portrait OF AN OFFICER 


» Artist unknown. Bust length. Three-quarter view 
facing to the right. Gray eyes and hair dressed in 
rolls over the ears, and slightly powdered. Dark blue 
coat with high collar, red-lined, and lapels. Black 
stock and red waistcoat in the style of the last decade 
of the Eighteenth Century. Painted on ivory. Un- 
signed and undated. In old gilt frame. Circular 
shape. 


Diameter, 23% inches. 


626—PortTraAIT OF A GENTLEMAN 


Artist unknown. Bust length. Three -quarter view of 
face looking towards the right. Close bob wig; brown 
eyes. He wears a high-collared black coat, and a white 


linen cravat. Light background. Painted on ivory. 
Unsigned and undated. In gold locket frame. The 
back of blue glass over tinsel, with a small oval re- 
ceptacle for hair, and with a monogram, “M. L..,” in 


gold. Oval shape. 
Size, 234 inches by 2, inches. 


627—Porrrair or Ernest I or Saxre-GoTrna 


Artist unknown. Half-length, standing. Three-quar- 
ter view of face looking towards the right. One arm is 
raised and points towards the background. Tie wig 
with bow of black velvet ribbon at back. He wears a 
square-skirted red velvet coat trimmed with gold lace 
over a steel corselet, and a falling lace cravat. The 
background is occupied by a view of the distant sea 
with a landscape foreground, one feature of which is 
a white tent. Blue sky and white clouds. Painted on 
ivory. Unsigned and undated. In contemporary 
silver frame. Irregular shape. 

Size, 214 inches by 134 inches. 
Ernest, Ist, called “the Pious,” the son of Jean, 
Duke of Weimer, was born in Attenbourg in 1601. 
He served in the “Thirty Years’ War” at the head of 
a regiment of Swedish cavalry, and took a distin- 
guished part in many battles. In 1640 he gained pos- 
session of the Duchy of Gotha and thus became the 
ancestor of those Dukes of Saxe-Gotha and Saxe- 
Coburg-Gotha, who were afterwards so intimately 
connected with most of the reigning houses of Europe. 
He was, for instance, the great-grandfather of the 
Prince Albert of Saxe-Coburg-Gotha, who became the 
Prince Consort of Queen Victoria of England. Ernest 


the Pious died at Gotha in 1675. 


628—Porrrair or Marie Lovise 
Artist unknown. Head only. Almost full face view, 
turned slightly to the right. Powdered hair dressed 
high over the forehead, with long ringlets and with 


clusters of flowers. Blue eyes. Background of blue 
sky. Painted on ivory. Unsigned and undated (about 
1812). Framed in gold locket, set with paste dia- 
monds over colored foil. At the back, on a ground 
of engraved gold covered with opalescent glass, and 
surrounding an oval panel of blue with the monogram, 
“KE. M. L.,” in mock pearls, is an ornament of hair and 


seed pearls. Oval shape. 
Size, 21% inches by 1%, inches. 


Marie Louise, born in 1791, was the daughter of 
Francis I, Emperor of Austria. In 1810 she became, 
on the divorce of Josephine, the second wife of Na- 
poleon, and, the year following, the mother of the King 
of Rome (Napoleon II). In 1813 she was appointed 
Regent, but she left France in 1814, obtaining the 
Duchy of Parma. After Napoleon’s death she married 
Count Neipperg. 


629—PorrTRrRAIT OF THE EMPRESS JOSEPHINE 


Artist unknown. Bust length. ‘Three-quarter view of 
face looking towards the right. Dark brown hair in 
ringlets confined by a triple band of sapphire-blue; 
hazel-colored eyes. High standing lace ruff and 
puffed sleeves of yellow with bands of blue. Square- 
cut corsage. Light gray background. Painted on 
ivory (cracked). Unsigned and undated (about 
1812). In old ormolu frame. Oval shape. 


Size, 2 inches by 15% inches. 


630—Porrrair oF A LADY 


Artist unknown. Bust length. Three-quarter view of 
face looking towards the right. Profuse curly brown 
hair falling in ringlets over the right shoulder; blue 
eyes. A high-waisted light blue dress of the Empire 
period with a white lawn fichu. Light background. 
Painted on ivory. Unsigned and undated. In chased 


and engraved gold frame with loop, the back being 
engine turned around small oval receptacle for hair. 


Oval shape. 


Size, 2 inches by 11% inches. 


631—Porrrait or Le Kain 
Artist unknown. The actor is represented in the réle 
of Mahomet. Bust length. Three-quarter view of 
face looking towards the right. Turban of white and 
yellow, with black aigrette in front. Rose-colored 
robe, ermine trimmed, over embroidered yellow under- 
garment. Dark background. Painted in enamel on 
copper. Unsigned and undated. In modern frame. 
Oval shape. 
Size, 21% inches by 21% inches. 
Le Kain (Henri Louis Cain), one of the most cele- 
brated actors of the French stage, was born in Paris in 
1729. He began his histrionic career in a tiny theatre 
on the Rue St. Merry, devoted to the performances of 
i amateurs, but in 1750 he attracted the attention of 
Voltaire, who, then at the height of his influence, took 
him under his patronage and eventually introduced 
him to the Comédie-Frangaise. Here Le Kain quickly 
took his position as the most important member of the 
company. He brought about a complete reform of 
stage costume and banished the full-bottomed wig and 
square-skirted coat which up to that time had been 
the only wear permitted on the stage. Frederick the 
Great invited him to play at Potsdam, and heaped 
pecuniary and other honors upon him. He died in 
1778, leaving an interesting volume of memoirs, which 
were re-edited by Talma in 1825. One of his greatest 
parts was Mahomet in the play of that name. 


632—Porrrair or Daniet O’ConnELL 
Artist unknown. Bust length. Three-quarter view of 
face looking towards the right. Brown hair, with 
slight side-whiskers and dark blue eyes. He wears a 


dark blue coat buttoned over so as to show the 
merest edge of the red waistcoat, a high standing, linen 
collar, and a white cambric cravat. Dark gray back- 
ground. Painted on ivory. Unsigned and undated 
(about 1825). In gilt frame, set with paste diamonds. 
Oval shape. 

Size, 1% inches by 1% inches. 
Born in 1775, Daniel O’Connell, “The Liberator,” be- 
longed to an old Irish family that had suffered under 
the penal code that kept the Catholics in subjection. 
He thus inherited his strong antipathy to British rule 
in Ireland. After attaining a distinguished position 
at the Irish Bar, he entered Parliament in 1828, as 
the leader in the movement for Catholic emancipation, 
the succeessful outcome of which in 1829 was entirely 
due to his genius and energy. After following the 
Whigs for many years he changed his policy in 1841 
and became the foremost champion of Repeal, and one 
of the earliest of “Home Rule” agitators. But the 
great famine of 1846-7 put an end to his hopes, and 
he died at Genoa in 1847. 


633—Portrair oF A YOUTH 


Artist unknown. Bust length. Three-quarter view of 
face looking towards the right. Curly brown hair 
dressed high above the head; dark brown eyes. Clean 
shaven face. Black coat with high collar and lapels. 
White waistcoat and high white stock and cravat tied 
in a bow in front. Reddish background. Painted on 
ivory. Unsigned and undated. In gold locket frame. 


Oval shape. 
Size, 3 inches by 21% inches. 


634—Porvrrait oF A LADY 


Artist unknown. Bust length. Profile view of face 
looking towards the right. Dark gray hair simply 
arranged under close-fitting Dutch cap, embroidered 
in red and blue. Brown eyes. Rose-colored dress with 


a hite lawn fichu. Around the neck is a narrow band 


of black velvet with a pearl clasp and pearl pendant. 
Greenish-colored background. Painted on ivory. Un- 
signed and undated. In old chased and engraved gold 


frame. Oval shape. 
: Size, 154 inches by 13% inches. 


635—Porrrair oF A Younc Giri 


Artist unknown. Half-length. Three-quarter view 
of face looking towards the left. Curly reddish-brown 
hair, confined by a pointed coronet-shaped head-dress ; 
brown eyes. High-waisted, short-sleeved white muslin 
dress of the Empire period. She wears a gold chain 
and locket and gold hoop ear-rings. Painted on ivory. 
Unsigned and undated. In octagonal gold frame with 
loop for use as a locket. At the back is a sepia draw- 
ing of a man and woman embracing in front of a tri- 
pod altar. Below is the inscription: “De loin, comme 
de prés; Francois et Madeleine.” Octagonal shape. 
Size, 144, inches by % inch. 


636—Porrrait or Lapy 


Artist unknown. Half-length. Full face looking 
towards the left. Dark curly hair dressed very low 
over the forehead; dark brown eyes, with white turban- 
like cap. Black, long-sleeved and high-waisted dress 
of the Empire period, with white lawn fichu. Black 
velvet ribbon around the neck close up to the chin 
and below a necklace of red coral beads. Light blue 
background. Painted on ivory (cracked). Unsigned 
and undated. In modern ormolu frame. Oval shape. 

Size, 314 inches by 234 inches. 


637—Porrtrait or Maria Foote 


Artist unknown. Half-length, seated. Three-quarter 
view of face looking towards the left. Curly brown 
hair falling in ringlets by the side of the face, and 
dressed with flowers and a flowing white veil. High- 


waisted dress with a red ribbon sash as girdle. Back- , 
ground of blue sky and foliage. Painted on ivory. 
Unsigned and undated. In carved ivory frame. Oval 


shape. 
Size, 34% inches by 2%, inches. 


Maria Foote, Countess of Harrington, was born in 
1797 at Plymouth, where her father, formerly an of- 
ficer in the army, was manager of the local theatre. 
She made her first appearance on the stage in 1810 
as Juliet, and in 1814 she became a member of the 
company at Covent Garden. Her abilities as an actress 
were but mediocre, but her great beauty secured her 
the favor of the public. She was a tireless worker and 
travelled during the summer months over the whole of 
England. During five years she is said to have trav- 
elled by postchaise no less than 25,000 miles. In 
1831 her theatrical career came to a close on her mar- 
riage with Charles Stanhope, the Fourth Earl of Har- 
rington. She died in 1867. 


638—Portrait oF QuEEN ELIzABETH 


Artist unknown. Nearly half-length. Full face. The 
eyes are gray and the auburn-colored hair is dressed 
high over the forehead, with long ringlets falling on 
either side and surmounted by a crown of pearls, with 
a pearl and emerald pendant. She wears a high-fluted 
ruff, a bodice of red, semé with emeralds, and a blue 
cloak. Around the neck is a long pearl necklace, with 
a cross-shaped pendant having an emerald in the cen- 
tre and long pearl drops. ‘The stomacher is of white 
satin embroidered with green fleurettes. Greenish 
background, with E. R. under two crowns painted in 
gold at the top. Painted on ivory. Evidently a copy 
of an older original. Mounted as a locket with plaited 
hair at the back. Oval shape. 

Size, 21, inches by 1% inches. 


639—Portrait oF A LADY 


Artist unknown. Bust length. Three-quarter view of 
face looking towards the right. Curly brown hair un- 
der a broad-brimmed black hat trimmed with white 
ostrich plume; blue eyes. Dressed in a short-sleeved, 
low-necked dress of light blue. She wears a necklace 
of green jade. Landscape background, with blue sky. 
Painted on ivory. In modern ormolu frame. Oval 
shape. 


Size, 2 inches by 134 inches. 


640—Porrtrair or Miss Peyton 


Artist unknown. Half-length. Profile view of face 
looking towards the left. Prematurely gray hair 
dressed in a twisted braid with small ringlets over the 
ears. Brown eyes. High-waisted, short-sleeved dress 
of white with trimming of pearl beads. Around the 
neck is a fine gold chain in a double loop from which 
depends an oval gold locket. Blue background with 
red stippling. Painted on ivory. Unsigned and un- 
dated. At the back gold locket frame having, under 
glass, a tress of brown hair in the form of a weeping 
willow over gilt pedestal with an urn. On this is en- 
graved: “Elza Ann Peyton. Died 29 April 1811. 
At Madras. Ag’d 21. R.P.” Oval shape. 


Size, 2% inches by 2 inches. 


641—Portraitr or Prince METTeRNICH 


Artist unknown. Half length, seated. Three-quarter 
view of face looking towards the right. Fair hair 
plainly dressed, clean shaven face and _hazel-colored 
eyes. He wears a blue high-collared and wide-lapelled 
coat with brass buttons, a yellow waistcoat, a high 
turned-over collar and black cravat, and, around his 
neck, the ribbon of an order, the insignia of which and 
of another, are suspended at his buttonhole. He is 
sitting at and leaning over a table with one hand sup- 
porting a document, or drawing; a crayon in a brass 


holder lies near him. Greenish colored background. 
Painted on ivory. Unsigned and undated (but evi- 
dently about the year 1800). In contemporary ormolu 
frame. Rectangular shape. 

Size, 3 inches by 2%, inches. 
Prince Metternich, Austrian Diplomatist and States- 
man, was born in 1773, and after serving as Ambassa- 
dor at Dresden, Berlin and Paris became Chancellor and» 
Foreign Minister in 1809, when he made peace with 
Napoleon, between whom and the Allies he unsuccess~ 
fully attempted to mediate in 1813. Always a re- 
actionary, on the restoration of the Bourbons he or- 
ganized the “Holy Alliance,” but in 1848 he was 
forced to resign and take up his abode in England. 
He died in 1859. His private character was very lov- 
able. He was an affectionate husband, a tender father 
and a delightful friend. 


‘642—Porrrait oF Hortense pE BEAUHARNAIS 


Artist unknown. Bust length. Three-quarter view 
looking towards the right. Dark hair in clustered 
curls and brown eyes. The head-dress is a square of 
red edged with white lace and tied in coquettish fashion 
over the head and under the chin. The décolleté dress 
is of red. Background of green. Painted on ivory. 
Unsigned and undated. In modern ormolu frame. 
Oval shape. 

Size, 3 inches by 25% inches. 
Hortense Beauharnais, daughter of the ill-fated Jose- 
phine, wife of Napoleon I, was born in 1783. She 
married Louis Bonaparte, King of Holland, but was 
separated from him in 1810, and retired to Switzer- 
land. Her son Louis afterwards became the Emperor 
Napoleon III of France. 


643—Porrtrait oF GrorcEt I or EncuaAnp 


Artist unknown. Bust length. Three-quarter view of 
face looking towards the right. Powdered wig falling 


in curls over the shoulders; dark blue eyes. He wears a 
double shoulder cape of ermine and a lace cravat. Dark 
background. Painted on ivory, with illegible signa- 
ture to the left, but undated. In contemporary gold 
and silver frame surmounted by a crown and paste 
jewel, with space for hair at back. Pointed oval shape. 

Size, 1% inches by 11% inches.. 


644—Porrrair or E1izaBETH BerKELEY, MARGRAVINE OF 
AUSPACH 


Artist unknown. Half-length. Full face turned over 
the left shoulder. Powdered hair dressed over a cush- 
ion in front and falling in long ringlets over the shoul- 
ders. Brown eyes. Large black felt hat trimmed with 
a blue ribbon and dark purple ostrich plume. A sim- 
ple fichu of thin cambric over the shoulders, and a. 
bodice with falling collar and lapels of yellowish ma- 
terial striped with red and gray. <A white rose, with 
blue flowers at the breast. Dark gray background. 
Painted on ivory. Signed, A. D. in monogram and 
dated 1794. In modern ormolu frame. Oval shape. 
Size, 37% inches by 3% inches.. 
A singularly romantic career was that of Elizabeth 
Craven, Margravine of Auspach-Baireuth. The 
youngest daughter of the Earl of Berkeley, she was 
born in 1750, and when a girl of seventeen married 
Mr., afterwards Lord, Craven. By him she had six 
children, but in 1780 they separated, and she devoted 
herself to travelling, publishing in 1789 her well-known 
“Journey to Constantinople.” About that time she 
took up her residence in Auspach and embarked on a 
platonic friendship of an intense nature with the 
Margrave, who was a nephew of Frederick the Great, 
and had been early married against his desires to one 
of the Princesses of Saxe-Coburg, who, however, when 
Lady Craven met him, was dead. In 1791 Lord 
Craven died and his widow immediately became the 


Margravine of Auspach-Baireuth. The Margrave 


sold his two principalities to Prussia, and the newly 
married pair came to England and lived, until his 
death in 1806, at Brandenburg House, Hammersmith, 
near London. She was a clever playwright, writing 
chiefly for her private theatre at Brandenburg House, 
but one of her comedies was produced at Drury Lane. 
She died at Naples in 1828, leaving a volume of in- 
teresting, if somewhat, scandalous memoirs. : 


645—Porrtrait or Marie Pautingt BonNAPARTE 


Artist unknown. Bust length. Nearly full face look- 
ing towards the right. Dark hair dressed plainly and 
falling over the ears with a string of pearls and a fore- 
head pendant. Black décolleté dress showing the lace 
chemisette and with a pearl ornament at the breast. 
Around the neck is a heavy necklace of sapphires, 
pearls and diamonds.  Bluish-gray background. 
Painted on ivory. Unsigned and undated (about 
1820). In ivory frame. Oval shape. 

Size, 254 inches by 2% inches. 


Marie Pauline Bonaparte, born in 1780, was the sec- 
ond sister of Napoleon I. In 1801 she married General 
Lecerc, whom she accompanied on the visit to St. 
Domingo, which ended his life by an attack of yel- 
low fever. In 1803 she married Prince Camillo Bor- 
ghese, but the union proved unhappy. She lived some 
years alone in Italy and accompanied Napoleon to 


Elba. She died in 1825. 


646—Portrait oF Comtesse Du Barry 


Artist unknown. ‘Three-quarter length. Seated at a 
harpsichord and facing the spectator with the head 
turned slightly to the left. One hand rests upon a 
sheet of manuscript music, the other, resting upon a 
table, holds a pen. Hair is powdered, with a jewelled 
tiara. Around the neck is a fine black cord, from which 
depends a gold locket in the form of a heart. The 


over-bodice is of fine semi-transparent net, the under- 
bodice of rose-colored silk. The sleeves are short and 
flowering. Background showing the interior of a 
room with a green curtain, a bookcase with books, and 
a mirror in a carved wooden frame. On the table to 
the left are books and a sheet of music. Painted on 
card. Unsigned. In old ormolu frame. Rectangular 


shape. 
Size, 2%, inches by 3 inches. 


Madam Du Barry, one of the mistresses of Louis XV, 
was born in 1746, and executed in 1793, during the 
Reign of Terror. 


647—Portrair or Narotreon I 


Artist unknown. Bust length. Three-quarter view of 
face looking towards the left. Hair long and wavy 
and dressed low over forehead. Clean shaven face. 
Dressed in a general’s uniform of the Army of the Re- 
public. High-collared coat with lapels and epaulets. 
White background. Painted in sepia on porcelain. 
Unsigned and undated (about 1798). In contem- 
porary, square ormolu frame. Circular shape. 
Diameter, 21% inches. 


648—PortTrait oF FRAv von SCHILLER 


Artist unknown. Half-length. Three-quarter view 
facing to the right. Light brown hair, brought for- 
ward in small corkscrew curls under a deep frilled 
mob-cap, tied under the chin with a narrow ribbon; 
blue eyes. She wears a bodice of white lawn with 
falling lace-edged collar, and around her shoulders is 
thrown a red shawl; her hands are crossed in front of 
her. Dark gray background. Painted on ivory. Un- 
signed and undated. In ormolu frame. Oval shape. 
Size, 234, inches by 2%, inches. 


Charlotte von Lengefeld (who became Frau von Schil- 
ler) was born in 1766 at Rudolstadt, near Jena; her 


father, who died when she was a child, being Royal 
Forester in his district. She first met Schiller in 
Mannheim when she was about 18, but it was not 
until 1787 that the acquaintance ripened into intimacy. 
She was a girl of remarkable intellectual charm, and 
of considerable beauty, and the wearied poet soon 
found her companionship necessary to his existence. | 
They were married on February 20, 1790, and for 
fifteen years their married life, in spite of sickness and | 
adverse circumstances, was of the happiest. Schiller 
died in 1805, leaving her with four children. She her- 
self died in Bonn in 1826. 


649—Porrtrrait oF Marie ANTOINETTE 


Artist unknown. Half-length. Three-quarter view of | 
face looking towards the right. Powdered hair ar- 
ranged over cushions at sides with long ringlets over 
shoulders; gray eyes. Blue dress with long sleeves 
open at neck, with frilled fichu of white lawn and pink 
ribbon tied in a bow at bosom. Dark background. 
Painted on ivory (cracked). Unsigned and undated. 
Forming the lid of snuff box of tortoise shell, with 
chased and engraved mounting. Circular shape. 

Diameter, 3 inches. 
Marie Antoinette, Queen of France, was the daughter 
of the Empress Maria Theresa of Austria. Born in 
1755, she married Louis XVI when he was Dauphin, 
becoming queen four years later. She fled with the 
king to Varennes in June, 1791, and a year later was 
imprisoned with him, being finally tried and guillotined 
in October, 1793. 


650—Porrrait or A Youne Lapy 


Artist unknown. Bust length. ‘Three-quarter view of 
face looking towards the left. Brown hair falling in 
ringlets over the neck, under a white cap with bow of 
blue ribbon; blue eyes. Dark blue dress open at neck 


with white fichu. Black velvet ribbon around neck. 
Blue sky and foliage as background. Painted on ivory. 
Signed to left “Cng . . elaistre,’ but undated (about 
1800). Forming the lid of a bonbonniére of Amboyna 
wood and tortoise shell. Circular shape. 


Miniature, diameter, 21, inches. 
Box, diameter, 234, inches. 


651—Porrrait or a Lapy 


Artist unknown. Half-length. Three-quarter view of 
face looking towards the right. Curly dark hair 
brought low over the forehead; hazel-colored eyes. — 
High-waisted, short-sleeved white muslin dress of the 
Empire period, with square-cut corsage. Light green 
background. Painted on ivory. Unsigned and un- 
dated (about 1805). In old square ebony and ormolu 


frame. Oval shape. 
Size, 21% inches by 1% inches. 


652—PaintTine In MINIATURE 


By Sauvage. Subject: A Nymph sacrificing at an 
altar, inscribed “A la Reconnoisance.”’ She is seated 
in a chair with one arm outstretched in the act of sac- 
rifice, the other hanging by her side and holding a 
wreath, painted on ivory en camaieu with black back- 
ground. Signed, “Sauvage.” Undated. In ebony 


frame. Circular shape. 
Diameter, 214 inches. 


Piat Joseph Sauvage was born in Touraine in. 1744 
and studied, when a young man, in Antwerp, as a pupil 
of M. J. Geeraerts. On his return to Paris in 1770 he 
essayed several styles of painting, but finally adopted 
that of “bas-relief,” or painting en camaieu. In this 
he became so eminent that he was appointed “‘peintre 
de Louis XVI,” and his works were held in high esti- 
mation in Paris. ‘Towards the close of his career he 
returned to Touraine, where he became professor of 
the local school of art and reorganized the academy 


with great success. He died in 1818, and some of 
his more important paintings are in the Public Muse- 
ums in Touraine, Lille and Antwerp. 


653—Porrrair oF THE MaAraQuIsE DE POMPADOUR 


Attributed to Massé. Three-quarter length, standing. 
Three-quarter view of face looking towards the left. 
Hair powdered and dressed away from the forehead, 
with a small bunch of roses on the left-hand side; brown 
eyes. She wears a short-sleeved dress of rose-colored 
silk with a square-cut opening to the bodice over white 
lace chemisette with flowing sleeves, and a bow of rose- 
colored silk under the chin. She holds in both hands 
in front of her an open book of music. Background of 
trees, rose-bushes and blue sky. Painted on ivory. 
Signed, but undated (about 1750). In modern ormolu 


frame. Long oval shape. 
Size, 234, inches by 3%, inches. 


Jeanne Antoinette d’Etioles, Marquise de Pompadour, 
the most famous of the many mistresses of Louis XV 
of France, was born in Paris in 1721, and educated 
by a wealthy financier with special reference to the 
position she was afterwards to fill. In 1746 she mar- 
ried a nephew of her guardian, M. d’Ktioles, and soon 
became a queen of fashion. She first attracted the 
king’s attention when he was hunting, but it was not 
until 1744 that he was finally subjugated, and she 
became ‘“‘maitresse en titre.” From that time until her 
death in 1764, she was the practical ruler of France. 
Her title was derived from the estate of Pompadour, 
which the king bought for her at the beginning of 
their intimacy. 

Jean Baptiste Massé, the most celebrated French min- 
iaturist of his time, was born in Paris in 1687, and 
during the early part of his life attained some distinc- 
tion as an engraver. He then turned his attention to 
miniature and enamel painting, studying under Jou- 


venet, and very soon had made himself the fashion at 
the court of Louis XV. His detractors insisted that 
his habit of flattering his sitters was largely respon- 
sible for his success. In 1749 he was appointed a 
Councillor of State, and in 1760 the Inspector of the 
Royal Gallery of Painting. He died in 1767. The 
archives of the Ministry of Foreign Affairs contain 
frequent references to the portraits he painted for in- 
sertion in snuff boxes to be presented to foreign po- 
tentates and others. One of these, incrusted with dia- 
monds, cost the State the almost incredible sum of 
129,852 francs. , 


654—PortTRAIT OF THE COUNTESS OF PEMBROKE 


Attributed to Richard Cosway. Three-quarter length. 
Full face turned slightly towards the left. Powdered 
hair in rolls and ringlets. Large white straw hat, with 
blue and white ribbon and white ostrich plumes. White 
bodice and panniers over a pale blue skirt with frilled 
lace edging around square opening of bodice. She 
holds in front of her in both hands a page of a letter. 
Background conventional landscape with the trunk of 
a tree on the right and an urn of flowers on a square 
pedestal to the left. Blue sky and foliage in the dis- 
tance. Painted on ivory. Unsigned and undated. In 
modern brass frame. From the collection of Mr. Bar- 
rett of Lees Court, Kent, England. Oval shape. 

Size, 3 inches by 35% inches. 


This Countess of Pembroke must have been the wife of 
the Henry Herbert, Earl of Pembroke and Montgom- 
ery, to whom Horace Walpole refers in 1750 as “‘A fine 
boy.” She was Lady Elizabeth Spencer, the second 
daughter of Charles, Duke of Marlborough, and was 
married to the Earl of Pembroke, March 23rd, 1756. 
She died at the age of eighty-five in 1831. 


655—PortTrair oF THE DucHEss OF SUTHERLAND 


By Sir William Charles Ross. Three-quarter length. 
Standing facing directly to the right, but with the 
head turned over the right shoulder so as to present 
a three-quarter view. Brown hair dress in early Vic- 
torian style, falling over the ears, with a chignon and 
ringlets behind. Brown eyes. She wears a white silk 
décolleté dress with a black lace mantilla over the left 
shoulder and held up by the right hand. At her breast 
is a small bouquet of flowers. To the left is conven- 
tional red drapery, to the right a balustrade and a 
stone pillar with a passion flower. Background of blue 
sky and purple cloud effect, and a landscape. Painted 
on ivory (cracked). Signed, ‘““W. C. Ross,” and dated 
1842. In plain ormolu frame. Rectangular shape. 
Size, 6 inches by 41% inches. 


Harriet Elizabeth Georgiana, daughter of the sixth 
Earl Carlisle, was the wife of George Granville Leveson 
Gower, the second Duke of Sutherland, who succeeded 
to the Dukedom in 1833. Married to him in 1823, she 
was one of the prominent figures at the Court of Queen 
Victoria, holding the high position of Mistress of the 
Robes to that monarch. She died in 1868, seven years 
after the death of her husband. 

Sir Wilham Ross inherited his artistic instincts from 
both parents. His father was himself a miniature 
painter; his mother, sister of Auber Smith the en- 
graver, was also a portrait painter. He exhibited at 
the Royal Academy when only fifteen, and his popular- 
ity as a miniature painter began with the accession to 
the throne of Queen Victoria. He painted the first 
miniature of the Queen after her coronation, and for 
many years was the most popular miniature painter 


at the English court. At least fifty of his miniatures 


are in the royal collection at Windsor Castle. He was 


elected an associate of the Royal Academy in 1838, — 1 


and a full member in 1839, in which year he was also 


knighted. He continued to practice his art until 1857, 
when he was stricken with paralysis. He died, after 
much suffering, in 1880. 


656—Porrrait or Sir Benzamin West, P. R. A. 


By James Morris Davis. Bust length. Three-quar- 
ter view of face looking towards the left. White hair 
dressed over the ears; gray eyes. Dark red coat with 
high collar and lapels and voluminous white cravat tied 
in a bow. Dark background. Painted on _ ivory 
(cracked). Inscribed on back in a contemporary 
hand, “Portrait of Benjamin West, President of the 
Royal Academy, painted by James Morris Davis of 
41 Upper Grove Street, London, 1809.” In square 
carved and gilt frame. Oval shape. 

Size, 34%, inches by 2% inches. 


Benjamin West was eee at Springfield, Pennsylvania, 
in 1738, and showed his artistic tendencies at an early 
age. In 1760 he was enabled by the help of friends to 
visit Italy, where he remained three years. He then 
settled in London as an historical painter. His suc- 
cess was so marked that in 1768 he was appointed His- 
torical Painter to George III. On the death of Sir 
Joshua Reynolds he was elected his successor as Presi- 
dent of the Royal Academy. In 1804 he resigned his 
office, but was induced to recall his resignation. He 
died in 1820 in his eighty-second year and was buried 
in St. Paul’s Cathedral. 

Of James Morris Davis all that is recorded is that he 
was a miniature painter who attained some degree of 
popularity early in the Nineteenth Century. Between 
1799 and 1812 he exhibited over 60 miniatures at the 
Royal Academy. 


657—Porrrair or a Lapy 


By George Michel. Three-quarter length. Standing | in 
a landscape. Full face inclined slightly towards the 


right. Fair hair dressed over a cushion with a blue 
ribbon intertwined and confining two roses. Necklace 
of a single string of very large pearls. Décolleté dress, 
of the Eighteenth Century period, of blue over a rose- 
colored bodice, with deep lace trimming. The sitter 
smiles, and with her right hand holds up a rose to the 
level of her face, the other arm is supported on a moss- 
grown stone, and she holds back with one finger the 
blue overdress. Landscape background of a tree, dark 
foliage and blue sky. Painted on ivory. Inscribed on 
back, “Michel,” but undated. In modern ormolu 


frame. Square shape. 
Size, 3 inches by 3 inches. 


George Michel was a French artist, born in 1763, who 
was a pupil of Leduc, and attained some distinction 
as an expert copyist. He was employed by Cardinal 
Fesch in 1785 to restore the pictures in his celebrated 
collection. 


658—Portrait oF A YouNG WomMAN 


By P. Violet. Three-quarter length, seated. Three- 
quarter view of face looking towards the right. Dark 
brown hair dressed in ringlets low over the forehead, 
confined with a circlet of gold beads and with a tur- 
ban-like head-dress of white. The décolleté short- 
sleeved and high-waisted Empire dress is of black over 
a white chemisette. Around the neck is a single string 
of amber beads. The bare right arm rests on the arm 
of a mahogany chair. Dark gray background. 
Painted on ivory (cracked). Signed, “P. Violet,” and 
dated 1803. In modern ormolu frame. Oval shape. 

Size, 414 inches by 31% inches. 


Pierre Violet was born in 1749 and came to Paris in 
1770, soon after his arrival securing an appointment 
to the Royal establishment. He became exceedingly 
popular as a miniature painter, and in 1788 published 
a book upon the art, which met with considerable suc- 


cess. In 1789 he accompanied the tide of emigrés to 
England, and there soon attained a popularity almost 
equal to that he had enjoyed in his own country. From 
1790 until his death in 1820 he was a constant ex- 
hibitor at the Royal Academy, and among his sitters 
was the Prince of Wales. Bartolozzi engraved several 
of his miniatures, notably that of Marie Antoinette 
“en peignoir.” 


659—Porrtrait or Lapy DarnuEy 


By John S. Stump.. Bust length. Full face. Curl- 
ing, dark brown hair and brown eyes, and high com- 
plexion. She wears a lace cap with lappets, purple 
strings and a purple flower, ruby ear-rings and a high- 
waisted black velvet dress with a white lace fichu. 
Grayish background. Painted on ivory. Signed, 
“Stump, pt.,” but undated. In modern brass frame, 


with gilt mount. Oval shape. 
Size, 354 inches by 3 inches. 


The eldest daughter of Sir Henry Parnell, who after- 
wards became Lord Congleton, Emma Jane Parnell 
was born in 1795 and was married to Edward, the fifth 
Earl Darnley, in 1825. She lived a life of widowhood 
for nearly half a century, for Lord Darnley died in 
1835, while she survived until 1884. 

John S. Stump, the date of whose birth is uncertain, 
was a student of the Royal Academy, and a constant 
exhibitor during the first half of the Nineteenth Cen- 
tury. He contributed theatrical portraits in char- 
acter and some classical subjects. He held a high 
place among his contemporaries, Redgrave saying of 
his work that it was marked by great tone and breadth. 
He died in 1863. 


660—Porrrair or GENTLEMAN 


By Busset. Bust length. Full face. Dark 
brown curly hair falling over the forehead and short 


side-whiskers; gray eyes. Dark blue coat with high 
standing collar, lapels and brass buttons; white waist- 
coat. Very high white cambric neckerchief tied in 
front. Dark background. Painted on ivory. Un- 
signed and undated (about 1820), but inscribed on 
back with the artist’s name. In ivory frame. Oval 
shape. 


Size, 2%, inches by 2 inches. 


661—Porrrait or Lapy St. AsarH 


By Richard Cosway. Bust length. Three-quarter 
view of face looking to the left. Fair hair falling in 
ringlets and wavy locks over the shoulders and con- 
fined within a white silk kerchief arranged in turban 
fashion. The décolleté white bodice is edged with lace. 
Around the neck is a single string of large pearls. 
Background of blue sky with lght cloud effect. 
Painted on ivory. Unsigned and undated, but in- 
scribed on the back, “Lady St. Asaph by Cosway, 
R.A., 1784.” In gold frame fitted as locket, with an 
ornamental device of the sitter’s hair, seed pearls and 
gold wire at the back. Oval shape. 


Size, 234 inches by 2%, inches. 


Lady St. Asaph was the third daughter of Thomas, 
Ist Marquess of Bath, and was born in 1762. On 
August 28th, 17784, she became the first wife of George, 
the eldest son of the 2d Earl of Ashburnham, who 
carried the courtesy title of Viscount St. Asaph. Lady 
St. Asaph died in 1791, before her husband succeeded 
to his father’s title. 

That this miniature bears no signature is not surpris- 
ing, for of signed miniatures by Richard Cosway 
there are not more than four or five in existence. Oc- 
casionally he wrote his name across the back, but 
practically never signed on the face. Of all the Eight- 
eenth Century miniaturists Richard Cosway has left 
the most enduring reputation. In his own lifetime, 


thanks partly to his eccentricity and foppishness, and 
thanks, too, to the celebrated parties his wife, Maria 
Cosway (herself a miniaturist of renown), gave at 
Schomberg House, Cosway was held in the highest 
repute and was one of the most talked-of men in Lon- 
don. He was a Devonshire man, born about 1742. 
He began exhibiting in London in 1760, and soon 
attracted the attention of the Prince Regent. He 
died in 1821. The work of Cosway, it has been well 
said, is in its way supreme, and his miniatures represent 
the beauties of a period which was nothing if not 
elegant. 


~ 662—Porrtrair or Maria THiresa 
By Gundall. Bust length. Full face. Brown 


hair showing only in small corkscrew curls under 
white cap. White lawn and lace fichu with brooch 
over dark green dress. She wears the Cross of the 
Order of Maria Théresa at her breast. Sky-blue back- 
ground. Painted on ivory. Signed, “Gundall,’ but 
undated. In modern ormolu frame. Oval shape. 
Size, 1144 inches by 114 inches. 


Maria Théresa, born in 1717, was Queen of Hungary 
and daughter of the Emperor Charles VI of Germany. 
In 1731 she married Francois Etienne, Duke of Lor- 
raine, and, her father dying in 1740, the succession 
to his throne was disputed by Frederick the Great and 
the Electors of Bavaria and Saxony. Supported by 
England she carried on the celebrated Seven Years’ 
War, and was finally victorious. She was popular 
with her people, not only on account of her domestic 
virtues, but by reason of her heroic constancy in wag- 
ing the war of succession. In 1758 she founded the 
Order of Maria Théresa in memory of the Battle of 
Kollin. She died in 1780. 


663—Porrrait oF a LAapy 


By Elie. Half-length. Three-quarter view look- 
ing towards the right. Powdered hair dressed over a 
cushion, falling in ringlets over both shoulders, and 
with a blue ribbon entwined; gray eyes. Across the 
shoulders is thrown a simple fichu of thin white lawn 
loosely knotted at the breast. The bodice of the dress 
is of a purplish-blue. Dark gray background. Painted 
on ivory. Signed, “F. Elie,” and dated 1734. In 


modern gilt frame. Circular shape. 
Diameter, 2% inches. 


Francois Elie was born in Geneva, but in what year 
is uncertain. The first mention of him is in the 
‘““Menus Plaisirs,’’ where it is recorded that in 1749 he 
painted portraits of the King (Louis XV), the Dau- 
phin, Madame Sophie, Madame Louise, and the Duc 
de Bourgoyne, receiving for them the orthodox fee of 
240 francs. 


664—Porrrait or Lapy ABERGAVENNY 


By Sir Thomas Lawrence, P. R. A. Half-length. 
Nearly full face looking towards the right. Dark 
hair arranged in falling side curls and in twisted plaits 
on the top of the head. Brown eyes. Décolleté and 
short-sleeved dress of black velvet with an ermine hood 
thrown across the shoulders. Around the neck is a 
long chain of plaited hair. She wears, as ear-rings, 
long drops of jet. Gray background. Painted on 
ivory (cracked). Unsigned and undated. Inscribed 
on back. In modern ormolu frame. Rectangular 
shape. 

Size, 314 inches by 2% inches. 


Caroline, Lady Abergavenny, was the second daughter 
of Ralph Leeke of Longland Hall, Shropshire, and | 
was married to William, the 4th Earl of Abergavenny, 
in 1824. She died in 18793. 


Sir Thomas Lawrence (born 1769, died 1830), who 
ended his career as President of the Royal Academy, 
began it, at six years old, as a sort of infant prodigy 
by sketching the likenesses of the folk who frequented 
his father’s inn at Devizes. When the family moved 
to Bath he was a boy of thirteen, but he soon found 
himself fully employed in taking portraits, in crayon, 
of the fashionables of the place at a guinea a head. He 
came to London in 1787 and entered, as a student, at 
the Royal Academy. MHis reputation as a portrait 
painter grew apace and he succeeded Reynolds as 
principal painter to the King in 1792. He became 
a Royal Academician in 1794, and for the next forty 
years he was undoubtedly the leading portrait painter 
of England, if not-of Europe. He was elected Presi- 
: dent of the Academy in 1820, a position he held until 
: his death in 1830. Although not usually reckoned as 
: a miniature painter, several examples of his work in 
this vein were shown at Kensington in 1865, including 
| one of George IV, when Prince of Wales, and another 


of Lady Seaton. 


665—Porrrair or Mure. Contat 
By Snasboux. Half-length. Full face. Dark 


hair dressed low over the forehead in curls and with a 
large comb at back. Brown eyes. Dressed in a high- 
waisted gown of white lawn confined by a black and 
white silk cord at the waist and open at the neck, with 
lace trimming. Over the shoulders is thrown a reddish- 
colored shawl. Background of light gray. Painted 
on ivory. Signed, “Snasboux,” and dated 1804. In 


old ormolu frame. Circular shape. 
Diameter, 254 inches. 


Louise Contat, one of the most celebrated of the 
Eighteenth Century members of the Comédie-Francaise, 
was born in Paris in 1760. She made her début in 
1776 and exhibited so much intelligence, despite her 


youth, that Beaumarchais intrusted to her the part of 
Suzanne in the first performance of “Le Marriage de 
Figaro.” She made a surprising success in the part, 
and soon took her place in the company as one of the 
greatest interpreters of Moliére that her century knew. 
During the Reign of Terror, she fell under suspicion 
of the Committee of Public Safety and was imprisoned. 
She was soon released, however, and continued to act 
until her death in 1813. 


666—Porrrait or A Youne Woman 


By Dun. Half-length. Full face. Dark hair in 
irregular curls and falling over the shoulders. Dark 
gray eyes. High-waisted purple dress over white 
chemisette, confined at the waist by a red girdle. Green- 
ish sleeves to undergarment. Blue background. 
Painted on ivory. Signed, “Dun,” but undated. In 
modern ormolu frame. Oval shape. From the sale 
of the celebrated Hamilton Palace collection at Chris- 
tie’s, July, 1882. This was lot 1487. Catalogued as 
“A Lady in a purple dress and red sash. Signed 
Dun.” ? 
Size, 3 inches by 2%% inches. 
A Flemish miniature painter named Dun attained some 
popularity in Naples during the Eighteenth Century 
and one of his portraits on ivory was exhibited at 
Kensington in 1865. 


667—Porrrait oF A Man 


By John Smart (1740-1811). Bust length. Three- 
quarter view facing towards the right. Powdered hair 
standing out around the face. Hazel eyes. Plum- 
colored coat with high collar, no lapels and brass but- 
tons, white waistcoat and cambric cravat with frill. 
Grayish background. Painted on ivory. Signed, “J. 
S.,’ and dated 1789, with letter I under dated. 
Mounted in chased and engraved gold as locket. Oval 
shape. 

Size 24, inches by 1% inches. 


“It is by his incomparable painting of faces that he 
takes his high position,” says Dr. George C. Williams, 
of the miniature painter John Smart. He was born 
about 1740, and was a pupil of Cosway with whom he 
was always on terms of close friendship. In 1788 he 
went to India where he remained for five years, signing 
the letter I below the date on the miniatures he painted 
in that country. He was a member of the Free Society 
of Artists and also of the Incorporated Society of 
Artists. He died in 1811. 


668—Porrraitr oF A LApy or THE Court or Louis XV 
By Vasseur. MHalf-length. Full face turned 


towards the left. Powdered hair dressed over a cushion 
in front and falling in ringlets over the shoulders; 
hazel-colored eyes. She wears a blue robe caught at 
the left shoulder with a bunch of roses and exposing 
the bosom, and a necklace of a single string of large 
pearls. Background of blue sky and dark cloud ef- 
fects. Painted on ivory. Signed, “Vasseur,” but un- 
dated (about 1760). In contemporary chased gold 
and silver frame of fine workmanship, set with diamonds 
and rubies. Oval shape. 


Size, 2 inches by 1% inches. 


669—Portralit oF A LADY oF THE CouRT OF CHARLES X 


By Verny d’Ouville. Three-quarter length, seated, 
Full view of face looking towards the left. Dark brown 
hair dressed in corkscrew ringlets massed over the ears. 
Brown eyes. Décolleté dress of black velvet with high 
waist and short sleeves. ‘The right arm falls down- 
ward towards the lap, the left arm with the hand 
showing, is supported on the purplish velvet cushion 
of the chair. Dark green background with a fold of 
dark purple drapery. Painted on ivory. Unsigned 
and undated, but inscribed on back. In modern or- 


molu frame. Oval shape. 
Size, 53% inches by 434 inches. 


670—Porrralit oF A BritisH OFFICER 


By John S. Stump. Bust length. Three-quarter view 
facing to the right. Dark brown wavy hair and side- 
whiskers. Brown eyes. Dressed in an ensign’s uniform 
of red coat, with standing collar of gold lace and 
shoulder straps. Dark gray background. Painted on 
ivory. Signed “J. S. Stump, pt.” In oval brass 


frame. Octagonal shape. 
Size, 134 inches by 114 inches. 


671—Porrrair or a Lapy 

By Bonvier. Bust length. Full face. Dark 
hair, slightly powdered, dressed over a cushion in front, 
falling in ringlets over both shoulders, surmounted by 
a black feather head-dress, and tied at the left side 
with a bow of purple ribbon and a double loop of 
pearls. White lace fichu with a white rose at the shoul- 
der, blue bodice and light red sleeves. Around the 
neck is a double row of large pearls. Dark back- 
ground. Painted on ivory. Signed, ‘“Bonvier,” and 
dated 1790. In ormolu frame, with easel back. Cir- 
cular shape. 


Diameter, 21%, “inches. 


672—PorrTrait oF THE DucHeEss oF WELLINGTON 


By Herman. Bust length. Three-quarter 
view of face looking towards the right. Dark hair, 
waved and dressed low over the ears in the early Vic- 
torian style. Gray eyes. Décolleté dress of light blue 
with a rose in front of the bodice. Light colored back- 
ground. Painted on ivory. In old pocket case of 
morocco leather. Oval shape. 

Size, 24% inches by 1% inches. 


While serving on the staff of Lord Westmoreland in 
Dublin (1790-3), Arthur Wellesley, who subsequently 
became the Duke of Wellington, became engaged to 
Catherine Pakenham, the third daughter of Lord Long- 


ford. There was strong family opposition to the 
match, and while Wellesley was in India, Miss Paken- 
ham, having contracted a severe case of smallpox, 
wrote offering him his release. He declined to be re- 
leased, however, and on his return home in 1806, they 
were married in Dublin. The marriage, however, was 
not successful, and, though there was no formal sepa- 
ration, they lived a good deal apart. The Duchess 
died in 1831, leaving two sons, Arthur, who became 
the second Duke of Wellington, and Charles, who at- 
tained high rank in the British army. 


673—Porrrait oF A GENTLEMAN 


By Richard Cosway. Bust length. Three-quarter 
view of face looking towards the left. Curled and pow- 
dered hair; brown eyes. Blue coat with high silk faced 
collar, and knotted white cravat. Light colored back- 
ground. Painted on ivory. Unsigned and undated. 
Framed in gold locket, with loop and with crystal back 
to receive hair. Oval shape. 

Size, 234 inches by 1% inches. 


Norr.—It can scarcely be doubted that this miniature 
is due to the facile brush of Richard Cosway. The 
lack of a signature is, if anything, presumptive evi- 
dence in its favor, when the style and the character of 
the handling are taken into consideration. 


674—PorTRAIT OF THE EMPRESS JOSEPHINE 


By D. Boset. Bust length. ‘Three-quarter view of 
face looking towards the left. Dark brown hair in 
short corkscrew ringlets, confined over the forehead 
by a double circlet of pearls; hazel-colored eyes. High 
standing lace ruff and puffed green sleeves, with a red 
mantle thrown over the shoulders. Around the neck 
is a double string of large pearls. Dark background. 
Painted on ivory. Signed, “D. Boset,” and dated 
1812. In modern ormolu frame. Octagonal shape. 
Size, 2% inches by 21% inches. 


Josephine, Empress of the French, was born in 1763, 


at Trois-Ilets, Martinique, and was married at the 
age of sixteen, by a family arrangement, to the 
Vicomte Alexandre Beauharnais, who fell a victim to 
the Revolutionary Convention in 1790. Five years 
later she called on General Bonaparte to thank him for 
restoring her husband’s sword, and made so instant 
an impression on him that they were married on March 
9th, 1796. As Empress her beauty and amiability 
won upon everybody, but Napoleon, mortified at the 
lack of offspring, decided to divorce her. This, with 
a show of reluctance, he did in 1809, and she retired 
to Malmaison. Her affection for Napoleon remained 
unaltered to the day of her death on May 24th, 1814. 


675—Porrrair or IncrEs 


By Mme. De Mirbel (?). Half-length. Three-quarter 
view of face looking towards the left. Brown hair 
parted at the side; gray eyes. High-collared, black 
coat, with lapels; white waistcoat, high white collar and 
voluminous neckcloth tied in a bow in, front. Dark 
gray background. Painted on ivory. Unsigned and 
undated. Forms the lid of a black lacquer snuff box, 
gold mounted and tortoise shell lined. Inscribed, “de 
Mirbel,” on inside of lid, but, by Mr. Adolf Kohn, 
through whom Mr. Harper acquired it, attributed to 
Jean B. J. Augustin (1759-1832). Circular shape. 


Diameter, 24%, inches. 


Jean Auguste Dominique Ingres, whose name is de- 
servedly associated with all that is best in French art 
of the early Nineteenth Century, was born in 1780, 
at Montauban. As a youth of sixteen, he came to 
Paris and studied under David, head of the classical 
school, and, though his individuality soon asserted it- 
self so that by the strict followers of David he was 
accounted a renegade, he remained a classicist to his 
life’s end. His works—and his output was large, for 


he preserved his faculties to the end of his long life— 
may be studied to advantage, not only in the Louvre, 
but in many important public buildings in France. 
The most widely known, perhaps, is “La Source,’ 
painted in 1862. He died in 1867. 

Aimée Zoe Mirbel (née Leczinska) was born in Cher- 
bourg in 196. Coming at an early age to Paris to 
study the art of miniature painting, she became a pupil 
of the celebrated Jean Baptiste Augustin. So marked 
was her talent that Louis XVIII appointed her minia- 
ture painter to the court, and she became the leading 
miniaturist during the reigns of Charles X and Louis 
Philippe. Her portraits include those of the leading 
statesmen and court ladies of her period, and are 
marked by their delicacy and breadth of treatment. 
She died in 1849. 


676—Porrtrait or a LApY 


By D. A. Bois. Bust length. Three-quarter view of 
face looking towards the left. Auburn hair, with a 
long ringlet falling over the shoulder and roses at the 
side. Pale yellow dress with a blue overmantle and 
roses at the corsage. Greenish background. In an 
oval panel surrounded by cupids in various attitudes 
against a background of blue sky. Painted on ivory. 
Signed, “D. A. BOIS,” and dated 1758. Forms the lid 
of a bonbonniére of tortoise shell mounted in chased 
and engraved gold. Circular shape. _ 


Diameter, 3 inches. 


677—Porrrair or MaxitmitieEN RoBESPIERRE 


By Platel. Bust length. Full face looking 
towards the right. Long, light brown hair falling 
straight over the ears. Blue eyes. Dressed in a blue 
coat with high collar and lapels with high white linen 
collar open at the neck and cambric frill. Dark gray 
background. Painted on ivory. Signed, ‘“Platel . L,” 


and dated “2nd R” (second year of the Republic or 
1793-4). In old ebony and ormolu frame. Circular 
shape. 
Diameter, 21% inches. 
Maximilien Marie Isidore Robespierre, whose name 
stands for all that was fanatical and blood-thirsty in 
the French Revolution, was born at Arras in 1758, 
of a family of Irish descent. Having studied for the 
law, he was appointed a judge in the diocese of Arras 
in 1782, but resigned his appointment in order to 
avoid pronouncing a sentence of death. He was re- 
turned to the State-General in 1789, as a member of 
the Tiers-état of Artois. He became the leader of the 
party of the Mountain, was chiefly responsible for the 
execution of Louis XVI, and when his party triumphed 
over the Girondists (May, 1793), he exercised the 
power of a Dictator and inaugurated the Reign of 
Terror, prescribing and sending to the guillotine all 
who opposed him, until at last his tyranny overreached 
itself, and he himself, by order of the Convention itself, 
was guillotined the 10th Thermidor 1794. 
The painter of this miniature was probably the Platel 
(Christian name uncertain), who was the father of 
Edouard Platel, a French painter of some reputation 
who was born in 1811 and died in 1859. 


678—Portrait ofr BENJAMIN FRANKLIN 


After J. A. S. Duplessis. Bust length. Three-quarter 
view of face looking towards the right. Long gray 
hair reaching to the shoulders; brown eyes, clean 
shaven face. Dressed in a gray coat and waistcoat, 
with white cravat and frill. Dark gray background. 
Painted on ivory. Unsigned and undated. An ad- 
mirable, and possibly contemporary, copy in miniature 
of the original pastel from life by J. A. Duplessis, 
painted in 1783 and now in the possession of John 
Bigelow, Esquire. Oval shape. 

Size, 134 inches by 11% inches. 


iceealelia 


Josef Sifréde Duplessis was born in 1725, and destined 
for the priesthood. He showed his inclination for the 
arts at an early age, and studied under his father. 
Losing his fortune in the Revolution, he accepted the 
post of Conservator of the Versailles Museum, and died 
in 1802. His portraits were highly considered. 


679—Portrait or A Man 


By Chapon. Bust length. Three-quarter view, 
facing to the right. Dark wavy hair, side-whiskers, 
and dark brown eyes. He wears a black coat with 
high-rolled collar, a white cravat tied in a bow, high 
white collar and frilled shirt with studs. Light back- 
ground. Painted on ivory. Signed, “Chapon,” and 
dated 1829. Oval shape. Mounted in gold as locket 
with monogram, “P. L.,” in hair at back. 

Size, 24, inches by 1% inches. 
But little is known about the career of Chapon, even 
his Christian name being uncertain. According to Mr. 
J. J. Foster, he was a French miniaturist who flour- 
ished about the year 1820. 


680—Porrrair or Francis I, or France 


By Olivier Le Roux. Bust length. Three-quarter 
view of face looking towards the left. Dark hair and 
short curly beard and moustache; brown eyes. Flat 
black velvet cap embroidered with pearls, and with 
a jewelled clasp and white ostrich plume. He wears a 
dark brown fur cloak thrown back so as to expose a 
close fitting undergarment of light blue, embroidered 
with gold blue silk and pearls, under which appears a 
gathered skirt of thin lawn. Dark green background. 
Painted on card. Signed, “Olivier Le Roux,” but un- 
dated. In modern ormolu frame. Oval shape. 

Size, 314 inches by 3 inches. 
Francis I, King of France, was born in 1494, and suc- 
ceeded his uncle, Louis XII, in 1515. After his de- 


feat at Paira in 1525 he was imprisoned for more than 

a year, but in defiance of the terms of his parole he 
renewed the war which was not concluded till 1544. 
He was a liberal patron of arts and letters, and founded 
the Collége de France. He died in 1547. 


681—Porrrait oF Lorp RANELAGH 


By Jeremiah Meyer, R. A. Bust length. Three-quar- 
ter view of head looking over the shoulder to the right. 
Long straight powdered hair and hazel-colored eyes. 
He wears a double-breasted blue uniform coat, with 
high red-lined collar and lapels, and a white cravat tied 
in a loose bow. Background of blue sky with white 
cloud effects. Painted on ivory. Signed, “I. Meyer.” 
In a contemporary reeded gold frame, arranged as a 
brooch. Oval shape. 


Size, 234 inches by 21%, inches. 


Charles Jones, the 5th Viscount Ranelagh, was born 
in 1765 (?), and succeeded to the title in 1797, when 
he was a captain in the Royal navy. His tenure of 
the title was brief, for he died unmarried in 1800, and 
was succeeded by his brother. 

Jeremiah Meyer, born in Tubingen in 1735, came to 
London as a boy of fourteen, and when still in his 
twenties was appointed ‘“Enameller” to George III. 
_ As a miniature painter, however, he was exceptionally 
talented. His work, as is evidenced in the present in- 
stance, displays a refinement of color, a perfection of 
finish, and a truth to life surpassed by hardly one of 
his contemporaries. He was a foundation member of 
the Royal Academy, and a devoted admirer of Sir 
Joshua Reynolds, by whose work his own style was 
very largely influenced. He died in 1789. 


682—Porrrait or PauLtine Bonaparte (Asour 1800) 


By J. F. Hollier. Nearly half-length. Full face 
looking towards the left. Dark hair dressed in curls 


high over the forehead and in twisted plaits at the 
back. In front, across the forehead, is a wreath of 
white roses. High-waisted, short-sleeved Empire dress 
of white satin with silk embroidered bodice. Around 
the neck is a double row of large white pearls. Gray 
background. Painted on ivory. Signed, “‘hollier,” 
but undated. In gold locket frame. Oval shape. 

Size, 254 inches by 13% inches. 


Jean Francois Hollier, one of the leading French min- 
iature painters of the Napoleonic period, was born in 
Chantilly in 1780, and as a youth was a pupil of both 
David and Isabey. His work was chiefly executed be- 
tween 1806 and 1840, his most notable portraits being 
those of Madame Paradol, the actress; T'alma, the tra- 
gedian, and Marshal Ney. He died in Paris in 1845.. 


683—Porrrait oF Prince METTERNICH 

By P. Mayr, Nearly half-length. Almost full face 
looking towards the right. White curly hair. Brown 
eyes. Black double-breasted coat, with high rolling 
collar and lapels, showing brown corded waistcoat. 
White stock, with blue ribbon around the neck, from 
which depends an order. In the left lapel are the 
insignia of four other orders. Light gray background. 
Painted on ivory. Signed, “P. Mayr,” and dated 
1827. In wodern ormolu frame. Oval shape. 

Size, 2%, inches by 2% inches. 


684—Portrait oF a Lapy 
By Bd. de Rurey. Nearly half-length. Three-quar- 
ter view facing to the left. Brown eyes and powdered 
hair falling in ringlets about the neck, and encircled by 
a twisted red ribbon. She wears a large black felt hat, 
with a purple feather and blue ribbon, a fichu of fine 
cambric with a white rose at the breast, and a bodice 
of blue, with a pattern of blue fleurettes. The back- 


ground is of dark green. Painted on ivory. Signed, 
“Bd. de Rurey,” and dated 1786. In a modern ormolu 


frame. Oval shape. 
Size, 354 inches by 3%, inches. 


685—Porrrair or A Lapy 


By Lendel. Half-length. Three-quarter view 
looking towards the right. Powdered hair with long 
ringlets falling over the shoulders and wide-brimmed 
leghorn hat, trimmed with flowers. Blue bodice, with 
pointed stomacher, rose-colored skirt and white chem- 
isette. The right arm hangs by the side, with the 
hand resting lightly on the edge of a table. Dark 
colored background. Painted on ivory. Signed, 
“TLendel,” and dated 1783. In chased and engraved 


ormolu frame. Circular shape. 


Diameter, 234 inches. 


686—PorrTraAItT OF THE VICOMTE DE CHATEAUBRIAND 


By Mlle. Debréval. Half-length. Full face slightly 
turned towards the left. Curly black hair and thin 
side-whiskers. Dressed in a dark blue high-collared 
coat of the style of 1815, with lapels and brass buttons. 
White waistcoat, showing at the neck, and with a high 
linen collar and voluminous white cravat tied in a small 
bow. In his buttonhole he wears the insignia of three 
orders. Dark gray background. Painted on ivory. 
Signed ‘‘Mlle. Debréval,” and dated “Xbre (Decem- 
ber) 1816.” Framed in a chased and engraved con- 
temporary ormolu frame and mount. Oval shape. 

Size, 23, inches by 21%, inches. 


Francois René, Vicomte de Chateaubriand, the most & 
notable figure in French literature during the First — 
Empire, was born at St. Malo in 1768, and, after de- 
clining to enter the church, obtained a commission in 
the army in 1788. After a visit to America in 1790 
he returned to France on the eve of the execution of 
Louis XVI, and was forced to join the ranks of the 


Na a ae |e 


Emigrés who fled to England. Here he lived ob- 
scurely for several years, devoting himself to his prose 
poems Atala and René, reminiscences of his American 
experiences. It was, however, his Genius of Christian- 
ity, published on his return to France, that made his 
name famous. Louis XVIII, when he ascended the 
throne, made much of him, and he served as Ambassador 
in both London and Rome, with a brief interlude as 
Foreign Minister. He died, tended by his old friend, 
Madame Recamier, in 1848, leaving his celebrated 
Memoires d’Outre-Tombe, the composition of which 
had occupied him at intervals during the greater part 
of his life. 


687—Portrair oF Sir Witt1am Hamitton 
By Bernard de Guerard. MHalf-length. Three-quar- 
ter view of face looking towards the right. Tie-wig 
and brown eyes. Dressed in a brown coat, with high 
collar, white silk-faced lapels and silver buttons. Lace 
steenkirk. Dark background. Painted on ivory. 
Signed, “Bernard de Guerard,” and dated 1795. In 


old ormolu frame. Circular shape. 
Diameter, 254 inches. 


Sir William Hamilton, antiquary and patron of the 
arts, was born in 1730, of a poor but noble Scottish 
family. In 1755 he married an heiress, and in 1767 
he was accredited Ambassador to Naples. This post 
he retained until 1800, devoting his leisure to the study 
of classical antiquities and forming a valuable collec- 
tion, of which the greater part is now in the British 
Museum. His second wife was the Emma Harte, or 
Lyon, so closely associated with the career of Nelson. 
She survived her husband who died in 1803. 


688—Porrrait oF a Youne Lapy 


By Miss Peel. Bust length. Full face. Dark hair 
drawn off from the forehead and dressed in a cluster 


3, oe. s eb AKA 


5 ; aR a7 iS 
et hae Fk! 
, 


of curls on top of the head. Long drop ear-rings of __ 
diamonds in a gold setting. Black velvet dress, fas- 
tened in front with a sapphire brooch, and a long gold ~ 
chain thrown over the shoulders. Background of the 
base of a column and conventional purple drapery. 
Painted on ivory. Unsigned and undated. Mounted 
in gold as a locket. Oval shape. 


Size, 3 inches by 25% inches. 


Miss Peel was an American miniaturist of the early 
Nineteenth Century. She lived and practiced her pro- 
fession in Philadelphia. She afterwards became Mrs. 
A. C. Staughton. 


689—Portrair or EtpERLY Man 


By Kotta. Bust length. Profile view of face looking 
towards the right. Tie-wig. White coat with high 
brown velvet collar and lapels. Lace cravat. Slaty 
blue background. Painted, in gouache, on card. 
Signed at back, “‘Kotta del, 1791.” In ormolu frame. 
Oval shape. | 
Size, 314 inches by 21% inches. 


690—Porrtrait or E.pERLY WomMAN 


(Wife of preceding?) By Kotta. Bust length. Pro- 
file view of face looking to the left. Dark gray hair 
arranged in corkscrew curls and long ringlets hanging 
down the back and over the shoulders. Brown eyes. 
White, deep fichu over the shoulders, with blue dress 
beneath. Dark slaty blue background. Painted on 
card in gouache. Signed at back, “Kotta del,” and 
dated 1791. In modern ormolu frame. Oval shape. 

Size, 3%, inches by 21% inches. 


691—“‘Tiny”’ Booxs 


Kern der Kerkelyke Historie. Dordrecht, 1755. With 
engravings by F. Walter. Red velvet binding. Two 
volumes. 

Size, 134 inches by 114 inches. 


692—InTacLios 


A collection of seven intaglios of semi-precious stones 
and glass engraved with various subjects. One is 
mounted in gold. 
Various sizes and shapes. 
693— BonBoNnNIERE 


Of lapis-lazuli, polished and mounted in ormolu. Oval 
shape. 
Size, 1% inches by 11% inches. 
694— BonBONNIERE 


Circular shape. Of ivory inlaid with gold and imita- 
tion tortoise shell. In the centre of the lid is an oval 
medallion, framed in chased and engraved gold and 
blue enamel of ivory painted in sepia with a monogram, 
“B. C.” French, Eighteenth Century. 

Diameter, 2/7 inches. 


695—BonBONNIERE 


French porcelain of the Louis XV period. Basket- 
shaped, with hinged lid. The body is of Pate tendre 
porcelain with an underglaze basket-work pattern and 
an overglaze decoration of forget-me-nots. Inside the 
lid is a script letter ‘*T’’ of roses, surrounded by a 
ground of painted masonry. The mounting is of or- 
molu finely chased. Mark: A painted butterfly (lid 
cracked). 

Height, 134 inches. 
Notre.—This is said to have been taken from a tomb. 
in Pére La Chaise. It is probably the product of one 
of the smaller Parisian factories which flourished under 


Louis XV. 


696—NEEDLE CASE 


Cylindrical shape. Of tortoise shell and vernis Martin. 
Painted decoration of sheep, goats and foliage on a 
ruby-colored ground. Mounted in gold. Engraved. 
French, Nineteenth Century. 

Length, 51% inches. 


697—Ivory Paneu - 
Bust length. Portrait of the Hon. Mrs. Graham. 
Carved in relief. French, Nineteenth Century. Rec- 


tangular shape. 
Size, 2%, inches by 1% inches. 


698—Ivory Panex 
Carved in relief with a subject of young bacchanals 
playing with a goat and a bearded mask. French, 


» Nineteenth Century. Rectangular shape. oh 
Size, 51% inches by 3%, inches. 


699—Ivory MepatLion 
Bust length. Portrait of Couthon, carved in low re- 
lief. In carved and tinted ivory frame. French, Nine- 


teenth Century. Oval shape. 
Size, 5 inches by 4%, inches. 


700—Ivory Mrepatiion 
Bust length. Portrait of Danton, carved in low relief. 
In carved and tinted ivory frame. French, Nineteenth 


Century. Oval shape. 
Size, 5Y%, inches by 414 inches. 


701—Ivory Mepatuion 
Bust length. Portrait of Elizabeth Louise Lebrun. 
Carved in low relief. In ebony frame. French, Nine- 


teenth Century. Oval shape. 
. Size, 54%, inches by 24 inches. 


702—Ivory MEDALLION 
Bust length. Portrait of a Queen or Princess. Carved 
in low relief. In carved wood frame. French, Nine- 


teenth Century. Oval shape. 
Size, 21% inches by 134 iehes. 


Y03—PENDANT 


Parti-colored crystal, carved in the form of a scarab 
and mounted in gold. French, Nineteenth Century. 
Size, 1 inch by 1 weh. 


704—PENDANT 


Portrait of a woman in Sixteenth Century head-dress 
in opaque and translucent enamels, set with paste dia- 
monds, and mounted in gold. French, Nineteenth Cen- 


tury. Oval shape. 
: Size, 13% inches by 1 inch. 


705—Snurr Box 


The box of Battersea enamel, the lid of porcelain with 
gilt brass mounts. Both box and lid are painted on 
a white ground with figure subjects. Rectangular 
shape. 


Size, 24% inches by 2 inches. 


706—NECKLACE 


Of cut garnets. Bohemian, Nineteenth Century. 
Length, 33 inches. 


707—Snurr Box 
Of light-colored wood. Carved. The lid has a sub- 


ject in low relief of a group of passengers at a country 
railroad station. German, Nineteenth Century. 
Size, 414 inches by 1% inches. 


Y08—Reperatine WatcH 


In 18-karat gold case, engine turned; open face. Ar- 
ranged to repeat and also to play a succession of airs. 
In going order. Made by Du Bois et Fils. French, 
late Eighteenth Century. 


709—Fan 


Guard sticks of ivory carved with a design of dolphins 
and pierrot figures and gilt. The mount is of paper 
painted with a pastoral subject of women in a land- 
scape with Europa and Phebus in the background. 
The sticks are of ivory, the lower portion carved with 
pierrot subjects in low relief and partly gilt. Dutch 


of the Eighteenth Century. 
Length, 1114 inches. 


mums, peonies ul birds. 
tury. Balas 


EVENING SALE 


WEDNESDAY, APRIL 19rx, 1911 


AT THE AMERICAN ART GALLERIES 
BEGINNING AT 8.15 o’cLOCK 


STANDARD AND MISCELLANEOUS BOOKS 


412—Aspry ILLUSTRATIONS 


Sketching Rambles in Holland; The Quiet Life. Illus- 
trations by E. A. Abbey and Alfred Parsons. 2 vols. 
8vo and quarto, full calf and cloth. 

New York, 1885-90. 


%138—Assrty ILLUSTRATIONS 


Selections from Herrick. Drawings by E. A. Abbey. 
Small quarto, cloth, gilt edges. New York, 1882. 
First Edition, 3 copies. 


714—A Becxerr (G.) 


Comic History of England. - Colored plates and nu- 
merous woodcut illustrations by John Leech. 2 vols. 
8vo, half red morocco. London, n. d. 
Very fine copy. 


715—A Beckett (G.) 


Comic History of Rome. Colored plates and numerous 
woodcut illustrations by John Leech. 8vo, half red 
morocco. London, n. d. 
Very fine copy. 


716—Assort’s Makers or History 
Illustrated. 32 vols. 16mo, half morocco. 
| New York, v. y. 


“17—Apam’s Historica LirERATURE 


Sanger’s History of Prostitution, etc. ‘Together, 11 
vols. Various sizes and bindings. v. p. v. d. 


718—Arrican TRAVEL 
Works on Africa by DuChaillu, Burton, Speke, and 
others. Illustrated. 10 vols. 8vo, cloth and half mo- 
rocco. New York, v. y. 


Y19—AFRrRIcAN TRAVEL 


Works on Africa by various writers. Illustrated. 8 
vols. 12mo and 8vo, cloth. Vv. p. ¥..d. 


“20—Auison’s History oF EvROPE 


8 vols.; Russell’s Modern Europe, 3 vols.; Thirlwall’s 
Greece, 2 vols.; etc. Together, 13 vols. 8vo, half calf. 
New York, 1856-60. 


721—AmeERICAN BiocGRAPHY 
Assorted, 13 vols. 


722—AmeERICAN History 


The North Americans of Antiquity (Short) ; Civil Pol- 
icy of America (Draper) ; Curiosities of the American 
Stage (Hutton); etc. Together, 6 vols. 12mo and 
8vo, cloth. New York, v. y. 


723— AMERICAN History 


Short History of the English Colonies in America 
(Lodge) ; History of the United States (Higginson) ; 
Indian History for Young Folks (Drake); History of 
America (Howitt). Illustrated. Together, 5 vols. 
12mo and 8vo, cloth and half calf. v. p. v. d. 


724— American Humour 
Flush Times of Alabama and Mississippi (Baldwin) ; 
Life of Private Miles O’Reilly; Josh Billings, His Say- 
ings; Sparrowgrass Papers (Cozzens). Together, 
4 vols. Illustrated. 12mo, cloth. New York, v. y. 


725— ANGLING 
American Angler’s Guide; Fishing Tourist (Hallock) ; 
I Go a Fishing (Prime) ; Fishing in American Waters 
(Scott). Illustrated. 'Together, 8 vols. 12mo and 
8vo, cloth and half morocco. New York, v. y. 


726—Arctic TRAVEL 
The Polar World (Hartwig); Grinnell’s Arctic Ex- 
pedition; Arctic Researches (Hall); etc. Illustrated. 
Together, 6 vols. 8vo, various bindings. 
New York, v. y. 


727—ArtT CaTALOGuE 
Catalogue des Objects D’Art et D’Ameublement Tab- 
leaux, etc., a Florence au Palais de San Donato. Pro- 
fusely illustrated with fine etchings and other plates. 
Folio, three-quarters green morocco, gilt top. 


Paris, 1880. 
Fine copy of the limited edition. 


728—ArtT CATALOGUES 


Catalogue de Tableaux Anciens and Modernes Com- 
posant la galerie de M. John W. Wilson. About 60 
etchings of famous paintings. Small quarto, three- 
quarters morocco. Paris, 1881. 


729—ArtT CATALOGUES 
23 vols. Various sizes and bindings. v. p. v. d. 


730—ArT eee 
Reber’s History of Ancient Art; Schuyler’s Studies in 
American Architecture; The Art of Beauty (Ha- 
weiss); etc. Illustrated. 'Together, 6 vols. 12mo and 
8vo, cloth and half morocco. New York, v. y. 


731—Art anv Criticism (CHILD) 
Illustrated; 'The Masters and Masterpieces of En- 
graving (Chapin). Illustrated. Together, 2 vols. 
Impl. 8vo, cloth and half morocco. 
New York, 1892-4. 


7382—-BaBYLON AND NINEVEH (NEWMAN) 
Layard’s Nineveh and Babylon; Thomson’s Land and 
the Book; and other works on the Holy Land. Jllus- 
trated. 'Together, 22 vols. Various sizes and bindings. 
Vee Ve tt 


"(8383—BraurEGARD (GENERAL) 
Military Operations of Beauregard in the War between 
the States, 1861-65. By Alfred Roman. Illustrated. 
2 vols. 8vo, cloth. New York, 1884. 


734—BILuiarps | 
The Billiard Book (Crawley); Roberts on Billiards; 
Modern Billiards (Collender); Barnier’s Practice 
Shots. Illustrated. 4 vols., cloth and half morocco. 
VD. Ved. 


“35—BioGRAPHY 
Assorted. 17 vols. 


(86—BosweELw’s JOHNSON 
2 vols.; Self-Made Man (Seymour); Life of David 
Livingstone (Blackie); etc. ‘Together, 19 vols. Va- 
rious sizes and bindings. Vaca 


737—Bowne (B. P.) | 
Metaphysics; Philosophy of Theism; Principles of 
Ethics; Psychological Theory; etc. 8 vols. 8vo, cloth. 
New York, v. y. 


%38—Browng, D. J. 


The Trees of North America. Illustrated. 8vo, half 
calf. : New York, 1857. 


7389—Brown (D. J.) 


The Trees of America. Illustrated. 8vo, cloth. 
New York, n. d. 


740—Bryant (W. C.) 
Picturesque America; or, The Land We Live In. A 
Delineation by Pen and Pencil. With illustrations 
on steel and wood by Eminent American Artists. 2. 


vols. quarto, full green morocco, gilt edges. 
New York, n. d.. 


Fine clean copy in a handsome binding. 


741—Butwer-Lytron (Sir Epwarp) 
Works of Bulwer-Lytton. 40 vols. 12mo, half green 
morocco, marbled edges. Philadelphia, 1865. 


(42—Burke’s Works 


3 vols.; Ticknor’s Spanish Literature, 3 vols.; John- 
son’s Works, 2 vols.; etc. Together, 10 vols. half calf. 
MaDe Ve Ge 


743—Burns’ Lire anp Works 


4 vols.; Leigh Hunt’s Works, 3 vols.; etc. ‘Together, 
28 vols. Various sizes and bindings. Vii Devs 


0) ae re 
ta ie 


744—Burer (Aaron) 
Private Journals and Memoirs of Aaron Burr. By M. 
L. Davis. Portraits. 4 vols. 8vo, cloth. 
New York, 1858 


(45—Burr (Aaron) 


Life and Times of Burr (Parton). The Conspiracy 
of Burr, a Historical Romance. 2 vols. 12mo and 8vo, 
half morocco. New York, 1854-61. 


“46—Burton’s ANATOMY OF MELANCHOLY 


8 vols.; Brooke’s Fool of Quality, 2 vols.; ete. To- 
gether, 6 vols. 12mo and 8vo, cloth. ov. ip. v. d. 


747—Bourron (R. F.) 
The City of the Saints and Across the Rocky Moun- 
tains to California; Warner’s Our Italy. Illustrated. 


Together, 2 vols. 8vo, cloth and half morocco. 
New York, 1862-91. 


(48—Byron’s LETTERS AND JOURNALS 
Recollections of Byron (Guiccioli); Lord Byron 
(Castelar) ; Wm. Bell Scott, 2 vols. Together, 6 vols. 
12mo and 8vo, cloth. New York, v. y. 


(49—CAaLiFroRNIA 
Semi-Tropical California (Truman) ; Peninsular Cali- 
fornia; Northern California (Nordhoff), etc. Illus- 
trated. 'Together, 5 vols. 8vo, cloth. 
New York, v. y. 


150—Car1yLe (Tuomas) 


Works. 14 vols. 12mo, half antique calf. 
New York, 1858-82. 


Y51—CATHEDRALS AND ABBEYS OF GREAT BRITAIN AND 
IRELAND 
With descriptive text by Richard Wheatley, D.D. 
Profusely illustrated. Folio, cloth. New York, 1890. 


%52—AnoTHER Copy 


153—CENTRAL AND SoutH AMERICA 


New Granada (Holton); Spanish-American Republics 
(Child) ; Life in Brazil (Ewbank) ; The Andes and the 
Amazon (Orton). Illustrated. 'Together, 8 vols. 8vo, 
cloth and half calf. ¥2-p.. Vs a: 


754—CENTRAL anp SourH AMERICA 
Nicaragua (Squier); Central America (Squier); La- 
Plata (Page); Peru (Squier); etc. Illustrated. 'To- 
gether, 6 vols. 8vo, cloth and half calf. 
New York, v. y. 


%55—CERAMICS 


Audsley (G. A.) and Bowes (J. L.). Keramic Art of 
Japan. Profusely illustrated, with colored and other 
plates. 2 vols. small folio, three-quarters red morocco. 
Printed for subscribers by the author. 


Liverpool, 1875. 
Splendid copy of the original edition. 


756—CERAMICS 


Du Sartel (O.), La Porcelaine de Chine. Origines, 
Fabrication, Decors et Marques, etc. Profusely illus- 
trated with colored plates, heliogravures, etc. Small 
folio, red morocco, gilt top. Paris, 1881. 
Very rare. No. 77 of only 100 copies printed. 


(57—CERVANTES 2 
Spanish Salt. A collection of all the proverbs which 
are to be found in Don Quixote. Introduction by U. 


R. Burke. 12mo, half morocco. 
London, Pickering, 1877. 


Scarce. 


7158—Cuarney (D.) 
Ancient Cities of the New World. TIllustrated. 8vo, 
cloth. New York, 1887. 


759—Civit War 
Negro Troops in the Rebellion (Williams); History 
of the Civil War (Abbott); War Pictures (Estvan) ; 
etc. Together, 10 vols. 12mo and 8vo, cloth and half 
calf. Vv. p. Vv. y. 


760—Civit War 
Quitman (J. A.) Life and Correspondence of Maj.- 
Gen. John A. Quitman, Governor of Mississippi. Por- 
trait. 2 vols. 8vo, cloth. New York, 1860. 


761—Civit War 
Recollections of Lincoln (Chittenden); My Diary 
North and South (Russell); Stonewall Jackson 
(Cooke) ; etc. Together, 12 vols., cloth and half mo- 
rocco. New York, v. y. 


762—Curmens (S. L.) ; 
The Innocents Abroad. Illustrated. 8vo, original 
cloth. Hartford, 1869. 


First edition, fair copy. 


763—CiEemMEns (S. L.) 
Mark Twain’s Sketches. Illustrated. First edition. 
Square 8vo, half morocco. Hartford, 1875. 


764—Corrin (C. C.) 
The Story of Liberty; Boys of 76; Building the Na- 
tion; Old Times in the Colonies; etc. Illustrated. 10 
vols. 8vo, cloth and half calf. New York, v. y. 


765—Couuws (WILKIE) 


Novels. 16 vols. 8vo. half calf, marbled edges. 
New York, Harper, n. d. 


%66—ConcRESS 


The American Congress, 1774-1895 (Moore) ; History 
of Congress, 2 vols. (Wheeler) ; History of the 39th 
Congress (Barnes). Illustrated. ‘Together, 4 vols. 
8vo, cloth. New York, 1848-95. 


767—Coorer (J. F.) 


Complete Novels. 34 vols. 12mo, half morocco, mar- 


bled edges. New York, 1859-60. 


%68—CostuME 


Racinet (M. A.); Le Costume Historique. Upwards 
of 500 illustrations. 6 vols. folio, finely bound in full 
dark blue morocco, gilt tops. Paris, 1888. 
Choice set of the large paper edition. An exhaustive encyclo- 
pedia, not alone of Costume, but of Furniture, Jewelry, Interior 
Decoration, etc., arranged historically from the remotest period 
to recent times. The illustrations, which number upwards of 
500, include 300 which are beautifully executed in gold and 
colors, the whole displaying over 8,000 different objects. The 
indices and descriptive text make the whole work easy and 
available for reference. 


769—CostTuMEs 
Illustrations of English and Foreign Costume from 
the Fifteenth Century to the Present Day. 96 beau- 
tiful full-page colored plates, engraved by Pauquet 
Brothers... Quarto, cloth, leather back (loose). 
: London, 1875. 


770—CostuMEs 
24 colored plates of historic costumes, engraved by 
Hargrave. 8vo, half morocco. Hy Pom: 


7'71—CostTuMEs 
Modes et Costumes Historiques. Dessines et graves 
par Pauquet Freres. 96 beautiful full-page colored 
plates. Quarto, cloth, leather back (loose). 
Paris, 1875. 


(72—-CosTUMES 
Civil Costumes of England, from the Conquest to the 
Present Time, by Charles Martin. 61 beautiful full- 
page colored etchings by L. Martin. Quarto, original 
cloth, gilt edges. London, 1842. 
Splendid copy of this rare work, the plates and text as clean 
as on day of issue. 


7738—Costume Piates 
21 fine hand-colored plates of European costumes. 
Quarto, half morocco. n. p. n. d. 


“Y4—CrowE AND CAVALCASSELLE 


The Early Flemish Painters. Illustrated. 8vo, cloth. 
London, 1857. 


Original edition, very rare. 


775—Curtis (G. W.) 
Prue and I; Trumps; Nile Notes; Potiphar Papers; 
Lotus Eating. Together, 5 vols. 12mo, half calf, mar- 
bled edges. New York, n. d. 


776—Curtis (Grorce Wo.) 
Orations and Addresses. Edited by Chas. Eliot Nor- 
ton. 38 vols. 8vo, cloth, gilt tops. New York, 1894. 


777—Custer (E. B.) 


Following the Guidon; Tenting on the Plains; Gil- 
more’s Four Years in the Saddle; King’s Campaigning 
with Crook. Illustrated. 'Together, 5 vols. 12mo, 
cloth. New York, v. y. 


778—Dicxkens (Cuas.) 


Works of Dickens. Illustrated. 13 vols. 8vo, half 
antique calf. Philadelphia, Peterson, n. d. 


779—Dicxens (Cuas.) 
David Copperfield, Nicholas Nickleby, Dombey and 
Son, Barnaby Rudge, etc. Illustrated by E. A. Abbey, 
Nast, Barnard, and others. 11 vols. 8vo, cloth. 
New York, 1873. 


780—Dicxens (Cuas.), Complete Works 
Illustrated by E. A. Abbey; Thomas Nast, Mahoney, 
Barnard, and Reimhart. 15 vols. in 8. S8vo, half calf, 
marbled edges. New York, Harper, 1873. 


Fine set. ‘This edition is now scarce. 


_ 781—Dicxens (Cuas.) 


Dickens’ Dictionary of London, 1879. An unconven- 
tional Handbook. 16mo, half red morocco. 
London, Chas. Dickens, 1879. 


Rare. 


182—DIcTIONARIES 


Greek-English Dictionaries, etc. 6 vols. 8vo and 
quarto, sheep. v. p. v. d. 


783—DIcTIONARIES 
Latin-English Dictionaries, etc. 6 vols. 8vo. sheep. 
v. p. v. d. 


1784—DicTIONARIES AND Law Booxs 


Assorted. 27 vols (some odd and broken). Various 
sizes and bindings. v. p. v. d. 


%85—Dix (Joun A.) 


Speeches and Addresses, 2 vols. ; Memoirs of Dix by his 
Son, 2 vols. ‘Together, 4 vols. 8vo, cloth. 
New York, 1864-83. 


786—Domenecu (Asse Em.) 


Seven Years’ Residence in the Great Deserts of North 
America. Illustrated. 2 vols. 8vo, half morocco. 
London, 1860. 


%87—Dunuar (Wo.) 
History of the American Theatre. First edition. 8vo, 
original cloth. New York, 1832. 


788—Dunn (J. P.) 
Massacres of the Mountains. A History of the In- 
dian Wars of the West. Illustrated. 8vo, cloth. 
New York, 1886. 


789—Earty AMERICAN ENGRAVINGS 


The Works of Josephus. With 60 large engravings 
after Metz, Stothard, and Corbauld, engraved by Tie- 
bout, Doolittle, Anderson, Rollinson, and others. Folio, 
old calf. New York, 1792. 


Fair copy. Two or three plates mended, the others in good 
condition. Very rare. 


%90—Earzty AMERICAN ENGRAVINGS 
New and Complete American Cyclopedia. 7 vols. 
quarto, sheep. New York, 1805. 


Contains numerous maps and plates engraved by Doolittle, 
Scoles, and other early American Engravers. Very rare. 


791—EpcewortnH, Maria 


Tales and Novels. 10 vols. Mrs. Sherwood’s Works. 
16 vols. Together, 26 vols. 12mo, half calf. 
New York, 1856-74. 


792—Eneutsu History 
Works on, by various writers. 12 vols. 12mo and 8vo, 


cloth and half calf. Vv. p. v. d.- 


793—Encuiso Men or LETTERS 


40 vols. cloth (not uniform), 12mo. : 
; New York, n. d. 


"94—Fiction py Moprern WriTERs 
25 vols. 


495—Fiction py Mopern Writers 
— 25 vols. 


“96—Fiction py Mopern Writers 
25 vols. 


%97—Fiction spy Mopern WRritTERs 
25 vols. 


798—Fiction sy Mopern WriTeERs 
25 vols. 


799—Fiction py Mopern Wrirers 
25 vols. 


800—Ficrion 
Mostly Modern Writers. 24 vols. 


801—FicTIon 
By Trollope, Ruffini, Reade, etc. Half leather, 37 
vols. . 


802—FicTION 
Assorted. 88 vols. 


803—FIcTION 
Assorted. 45 vols. 


804—Frencu History 


Works on, by various writers. 18 vols. 12mo and 8vo, 
cloth and half calf. ¥. De v.00: 


805—Frencu Humor 


Petit Journal Pour Rire. Many colored plates. 5 
vols. 8vo, boards. Paris, n. d. 


806—GerorcE Exuiot’s Lire (Cross) 
3 vols.; Southey’s Life of Wesley; Southey’s Life and 
Correspondence; etc. ‘Together, 11 vols. 12mo and 
8vo, cloth and half morocco. Vas vn Ce 


807—GEROME 
A collection of the Works of J. L. Géréme in one hun- 
dred photogravures. Edited by Edward Strahan. 2 
vols. folio, finely bound in full dark red crushed levant 


morocco, tooled in gold, inside borders. 


New York, 1881. 
No. 53 of the limited edition. 


808—Go.psmiTH (OLIVER) 
Works of Goldsmith, edited by Peter Cunningham. 
Portraits. 4 vols. 8vo, cloth, paper labels. 
New York, 1881. 


809—GreeEn (J. R.) 
A Short History of the English People. Edited by 
Mrs. J. R. Green and Kate Norgate. Profusely illus- 


trated. 4 vols. Impl. 8vo, cloth, gilt tops. 
New York, 1893. 


The best edition. As new. 


810—GreEn (J. R.) 


History of the English People, 4 vols.; The Making 
of England; The Conquest of England. Together, 6 
vols. 8vo, cloth and half calf. New York, 1882. 


811—Grote (GrorRcE) 


History of Greece. 12 vols. 8vo, half calf, cloth sides. 
New York, 1856-7. 


812—Hacearp (H. R.) 


Novels. 13 vols. 12mo, half cloth. 
New York, v. d. 


813—Hatziam’s Works 


4 vols.; Wallace’s Island Life; Donnelly’s Atlantis, 
etc. 15 vols. 12mo and 8vo, cloth and half calf. 
Vo) DsVocd. 


814—Harprr’s Bicin 


Complete set from vol. 1 to 26. Folio, half green 
morocco, marbled edges. New York, 1868-93. 


In splendid condition. 


815—Harrer’s Enewuiso Cruassics ror Scuoot READING 
16 vols. 12mo, cloth. New York, v. y. 


816—Harrer’s FrRanKLIN Square Lisprary 
120 vols. quarto, half roan. 


Contains the best novels and romances, issued between 1875-90. 


“ty ROT Se 
‘i Roe es > 


817—Harper’s Famity Liprary 


A series of Histories, Travels, Biographies, and other 
entertaining works. 52 vols. 16mo, half antique calf, 
marbled edges. New York, v. y. 


818—Harper’s Famirty Liprary 
38 vols. 16mo, cloth. New York, v. y. 


819—Harper’s Hatr-Hovur SEries 


Contains some first editions of Henry James, Thos. 
Hardy, George Eliot, and other celebrated authors. 
188 vols. 32mo, cloth. New York, v. y. 


820—Harper’s Hanpy SErRIEs 
33 vols. 12mo, half roan. 


821—Harper’s Macazinge 
Vol. 1, Index to vols. 1-40, Index to vols 1-50, Index 
to vols. 1-60, Index to vols. 1-85. ‘Together, 5 vols. 
8vo, cloth and half calf. New York, v. y. 


822—Harper’s New CuassicaL LIBRARY 


Bohn’s Classical Series; Harper’s Greek and Latin 
Texts. 47 vols. 16mo and 12mo, cloth and half calf. 
v. p. v. d. 


_ 823—Harrer’s STuDENT SERIES 
21 vols. 8vo, cloth and half calf. New York, v. y. 


824—Harper’s Younc PEoPie 
Bound volumes for 1880, ’81, ’82, ’84, ’86, °87, ’88, 
°89, °90, °92, in half roan; 1893, ’94, °95, °96, in the 
original publishers’ cloth. ‘Together, 14 vols. JIllus- 
trated. New York, 1880-96. 


825—| Harte (Bret) | ) 
Outcroppings. Being selections of California verse. 
12mo, original cloth. ~~ San Francisco, 1866. 
The author’s first book. Fine copy. Very rare. 


826—Hearn (Larcapio) 
Youma; Two Years in the French West Indies; Chita. 


Together, 3 vols, 12mo, original cloth. 
New York, 1889-90. 


First editions. Very rare. 


827—Hearn (Larcapio) 


Youma; Two Years in the French West Indies; Chita. 
Together, 3 vols. 12mo, original cloth. 
New York, 1889-90. 


First editions. 


828—Hitpretx’s History or THE UNITED STATES 
6 vols, half calf (labels missing) ; Broadhead’s State 
of New York, vol. 1 only; Derby’s 50 Years Among 
Publishers, Drake’s Nooks and Corners of the New 
England Coast. Together, 9 vols. 8vo, cloth and 
half calf. Vere Ve de 


829—Hormes (O. W.) 
The Autocrat of the Breakfast Table; The Professor 
at the Breakfast Table. 2 vols. 8vo, half morocco, 
marbled edges. Boston, 1859-60. 


Large paper edition of the first issues. Very rare. 


830—Hone (Puiuip) 
The Diary of Philip Hone, 1828-1851. Edited by B 


Tuckerman. Portrait. 2 vols. 8vo, cloth. 
New York, 1889. 


831—Horsegs.anp Ripine 


The Horse in Motion (Stillman); Youatt on the 
Horse; Riding (Hayes); How Women Should Ride, 
etc. Illustrated. ‘Together, 8 vols. Various sizes and 
bindings. v. p. v. d. 


832—HoweE ts (W. D.) 


Works. Mainly first editions. 20 vols. 12mo, orig- 
inal cloth. New York, Harper’s, v. y. 


833—Humpsoupt’s Cosmos 


5 vols.; Travels on the Amoor (Atkinson) ; Mill’s Lit- 
erature, 2 vols.; etc. Together, 19 vols. Various 
sizes and bindings. Ve eh eee 


834—Hume (Davin) 


History of England. Portrait. 6 vols. 8vo, half calf. 
New York, 1879. 


835—Huttron’s Lirerary LANDMARKS 


5 vols.; Lloyd’s Wealth and Commonwealth, etc. To- 
gether, 17 vols. 12mo and 8vo, cloth. v. p. v. d. 


836—ILLustRaATED Books 
Boyhood of Christ, by Lew Wallace; Strolls by Star- 
light; Heroines of Shakespeare; Four American Uni- 
versities ; Forest Pictures; etc. Together, 5 vols. 8vo 
and quarto. Various bindings. Vv. p. v. y- 


837—ItuLustRaTeD Books 
Harper’s Christmas Pictures and Papers; Harper’s 
Pictorial History of the War with Spain; Colton’s 
Atlas (binding broken) ; etc. Together, 6 vols. folio, 
half morocco. New York, v. y. 


838—ILuustraTED Books 
History of Wood Engraving (Woodberry); The 
Christ Child in Art (Van Dyke); Pony Tracks (Rem- 
ington). ‘Together, 3 vols. 8vo, cloth. 
New York, v. y. 


839—IxiustRaTED Books 
Life and Habits of Wild Animals (Wolf); Sketches 
from Nature; Observations on the Mechanism of the 
Horse’s Foot (Freeman) (damaged). Together, 3 
vols. quarto, cloth and half morocco. v. p. v. d. 


840—IxiustratEeD Booxs 
Raffelle Gallery; Shakespeare’s Home and Rural Life; 
Dore’s London. ‘Together, 3 vols. small folio, cloth 
and half morocco. v. p. v. d. 


841—Inp1ans 
Marcy’s Border Reminiscences; Heard’s History of the 
Sioux War; Hall’s Romance of Western History; 
Ruxton’s Life in the Far West; Smith’s The Aran- 
canians; Browne’s Apache Country. Illustrated. 'To- 
gether, 6 vols. 12 mo, cloth and half morocco. 
VoD. .¥.° 0. 


842—Irvine (WasHINGTON) 


Works of Irving. Illustrated. 21 vols. 12mo, half 
morocco. New York, 1860. 


843—James (G. P. R.) 


Novels. 21 vols. 12mo, half antique calf. 
New York, 1855. 


Some labels missing and a few volumes stained. 


844—James (G. P. R.) 
Novels. 31 vols. in 8 (double-column edition). 8 vols. 
8vo, half calf. New York, 1848-56. 


845—James (Henry) Sia 
Theatricals, 2 vols.; Daisy Miller and an International 
Episode; Picture and Text; The Wheel of Time; Ter- 
minations; Essays in London; Washington Square; 
Port Tarascon. Together, 9 vols. 12mo and 8vo, orig- 


inal cloth. New York, v. y. 
All first editions. Very fine copies. 


846—JourRNAL oF Sir WALTER ScoTtT 
2 vols.; Fifty Years Ago (Besant); Life and Times 
of Sydney Smith, etc. Together, 8 vols. 8vo, cloth. 
New York, v. y. 


84'7—J UVENILES 


By Kirk Munroe and others. 10 vols. 12mo, cloth. 
New York, v. y. 


848—J UVENILES 


By Du Chaillu and others. 15 vols. 12mo and 8vo, 
cloth. ¥. Dp. Vay. 


849—JuvVENILES 
Assorted. $84 vols. 


850—J UVENILES 
Assorted. 50 vols. 


851—KavuLBacH ILLUSTRATIONS 


Female Characters of Goethe. The Schiller Gallery. 
With many fine steel plates after Kaulbach. 2 vols. 
folio, cloth, morocco backs, gilt edges. 

| New York, n. d. 


852—KeEnpaty (G. W.) 


Narrative of the Texan Santa Fé Expedition, 2 vols.; 
Green’s Journal of the Texan Expedition Against 
Mier. Illustrated. ‘Together, 3 vols, 12mo and 8vo, 
cloth and half calf. New York, 1845-56. 


853—Kwnox (T. W.) 


The Boy Travellers’ Series. Illustrated. 23 vols. 8vo, 
cloth and half calf. New York, Harper, v. y. 


854—Lamps’s Works 
2 vols.; Men, Women and Books (Hunt); Autobiog- 
raphy of Leigh Hunt; Restoration of the Monarchy 
(Lamartine) ; ete. Together, 24 vols. 12mo, half an- 
tique calf, marbled edges. New York, v. y. 


855—Lanp or THE Mipnicut Sun (Dv Cuaituv) 
2 vols.; Horse, Foot and Dragoons (Zogbaum), 3 
copies; etc. Illustrated. ‘Together, 10 vols. 8vo, 
cloth. New York, v. y. 


856—Lane’s Custom anp Mytu 
Crabb’s English Synonyms, Fiske’s American Political 
Ideas, etc. Together, 20 vols. 12mo, cloth and half 
calf. v. p. v. d. 


857—L’ Art, Revue HEBDOMAIRE 


Illustrated. Profusely illustrated with many thousand 
etchings, woodcuts and other plates. Complete set 
from vol. 1 to 55. Folio, half morocco. 

Paris, 1875-93. 


858—Lire or Juxius Cassar (Napoeon) 
2 vols.; Marcus Aurelius (Watson); John Locke, 2 
vols. (Fox-Bourne). Together, 5 vols. 8vo, cloth and 
half morocco. New York, v. y. 


859—LonGsTREET’s GEORGIA SCENES 
Illustrated. 12mo, cloth. New York, 1859. 


Second edition, very rare. 


860—Lossine (B. J.) a 
Field Book of the Revolution, 2 vols.; Field Book of 
the War of 1812. Illustrated. 8 vols. royal 8vo, half 
calf. New York, 1855-68. 


First editions. 


861—Lowetu (J. R.) 
Letters of Lowell, 2 vols.; Writings of R. C. Sands, 2 
vols.; Society and Solitude (Emerson) (first edition). 
Together, 5 vols. 12mo and 8vo, cloth. v. p. v. d. 


862—Lowe.v’s Hessians IN THE REVOLUTION 
The Yorktown Campaign (Johnston); Invasion of 
Washington (Williams); Maxims of Washington; 
Mary and Martha Washington (Lossing); ete. To- 
gether, 10 vols. 16mo to 8vo, cloth and half calf. 
V.cPacve: 


863—LyYeEL.’s TRavEeLs IN THE UNITED STATES 
Lady Wortley’s Travels; Bowles, Across the Conti- 
nent; Lossing’s Story of the United States Navy; etc. 
Together, 13 vols. 12mo and 8vo, cloth. Vi Dova ys 


864—M’Cuntock (Rev. JoHN) anp JAMES STRONG 
Cyclopedia of Biblical, Theological, and Ecclesiastical 
Literature. 10 vols. 8vo, half morocco. 


New York, 1882. 


865—Macautay’s History or Encianp 
5 vols.; Spanish Conquest of America (Helps), 3 vols., 
etc. Together, 14 vols. 12mo, half antique calf. 
v. p. v. d. 


866—Macautay’s Lire anp LETTERS 
2 vols.; Letters of Dr. Samuel Johnson, 2 vols.; Dick- 
ens-Collins Letters; etc. Together, 8 vols. 12mo and 
8vo, cloth and half calf. New York, v. y. 


867—Macautay’s MisceELLANEOUsS Works 


5 vols.; Josephus, 4 vols.; Gibbon’s Rome, 5 vols. To- 
gether, 14 vols. 8vo. Various bindings. v. p. v. d. 


868S—Manppen’s Lire oF THE COUNTESS OF BLESSINGTON 


2 vols. ; Lane’s Arabian Nights, 2 vols.; Hooker’s Him- 
alayan Journal, 2 vols.; etc. Together, 14 vols. 12mo 
and 8vo, cloth and half morocco. Vv. p. Vv. y- 


869—Marcy (Gen. R. B.) 


Thirty Years of Army Life on the Border. Numerous 
illustrations. 8vo, cloth. New York, 1874. 


870—Marryat’s Works 


11 vols.; Oceala, by Mayne Reid, 3 vols., etc. To- 
gether, 23 vols. 12mo. Various bindings. _ v. p. v. d. 


871—MarsHALL’S WASHINGTON 


Bancroft’s Miscellanies; Life of Wilbur Fisk; Robin- 
son’s Kansas Conflict; etc. Together, 11 vols. 12mo 
and 8vo, cloth and half calf. New York, v. y. 


872—Mevit_e (Herman) 
Novels, comprising Redburn; Moby Dick; Typee; 
Mardi; Omoo; White Jacket; Pierre. Together, 8 
vols. 12mo, half antique calf. 
New York, v. y. 


873—Merepitu (GroRGE) 


Evan Harrington; or, He Would be a Gentleman. 
12mo, original cloth. New York, Harper, 1860. 


The very rare first American edition, which was suppressed. 


874—Metrernicu Memoirs 
3 vols.; Memoirs of Archibald Constable, 3 vols.; Ma- 
cready’s Reminiscences, etc. Together, 16 vols. 12mo 


and 8vo, cloth and half calf. Wp. Ved. 


875—MeExico 


Old Mexico (Bishop) ; Adventures in Mexico (Carpen- 
ter); Vagabond Life in Mexico (Ferry); etc. To- 
gether, 5 vols. 12mo and 8vo, cloth. | . 
New York, v. y. 


8'76—Monette (J. W.) 


History of the Discovery and Settlement of the Valley 
of the Mississippi. Map. 2 vols. 8vo, cloth. 
New York, 1848. 


877—Mortey (J. L.) 


The Dutch Republic, 3 vols.; The United Netherlands, 
4 vols.; John of Barneveld, 2 vols. Illustrated. 'To- 
gether, 9 vols. 8vo, half crimson calf, marbled edges. 


New York, 1861-75. 


878—Mortey (J. L.) 


The United Netherlands, The Dutch Republic, John 
of Barneveld. Together, 9 vols. 8vo, half polished calf, 
marbled edges. New York, Harper, n. d. 


879—MotTLey’s CORRESPONDENCE 
2 vols.; Curtis’ Life of Jas. Buchanan, 2 vols. To- 


gether, 4 vols. 8vo, half calf. New York, 1883-89. 
880—Music : 

Works on, by various writers. 20 vols. 12mo and 8vo, 

cloth. v. p. v. d. 


881—NapoLron 
The History of Napoleon Bonaparte, by J. S. C. Ab- 
bott. Maps and illustrations. Handsomely bound in 
dark blue panelled morocco, front and backs richly 


tooled, centerpiece inlaid with the letter N in red, dou- 
ble of watered silk and morocco, gilt edges. 
New York, 1855. 


Fine copy of the first edition in a handsome binding of the 
period. 


882—Narvurat History 
Boudoir Botany. Colored plates. Goology (Orton) ; 
Popular Astronomy (Newcomb); etc. Together, 10 
vols. 12mo and 8vo. Various bindings. v. p. v. d. 


883—Narvurat History 
The Bird (Michelet); Homes without Hands (Wood) ; 
Canaries and Cage Birds (Holden); etc. Illustrated. 
Together, 6 vols. Various sizes and bindings. 


Vv. p. v. d. 


884—NaturauL History 
Country Cousins (Ingersoll); Naturalist’s Wander- 
ings (Forbes) ; Boys’ Book of the Seasons; etc. To- 
gether, 10 vols. 12mo, half morocco. i | Sen alae 


885—NaturaL History 
Manual of Conchology, colored plates (Wyatt) ; His- 
tory of the British Zoophytes (Landsborough) ; Rec- 
reations in Botany, etc. Illustrated. 'Together, 12 
vols. 12mo and 8vo, cloth and half calf. v. p. v. d. 


886—NarturaL History 
Wood’s Natural History, 3 vols.; The Desert World 
(Mangin); Nature’s Serial Story (Roe); etc. Illus- 
trated. 'Together, 7 vols. Imp. 8vo. Various bind- 
ings. Vesper ve oc: 


887—Neat’s History or THE Purrrans 
Across America and Asia (Pumpelly); El Gringo, or 
New Mexico (Davis); etc. Together, 11 vols. 12mo 
and 8vo, cloth and half calf. ¥. p. ¥.\d. 


888—New York City 


In Old New York (Janvier) ; Old New York (Francis) ; 

Tour Around New York (Mines); History of New 
York for Schools (Dunlap), etc. Together, 9 vols. 
Various sizes and binding. New York, v. y. 


889—New York 


Commemoration of the Conquest of New Netherland 
on its 200th Anniversary, by the New York Historical 
Society. Steel portraits and map. 8vo, half morocco. 


New York, 1854. 


Presentation copy to Messrs. Harper. 


890—Oxp Time Novets 
By Mulock, Lever, Lover, Muhlbach and others. 
Mostly double column editions. 40 vols. 8vo, cloth. 
v. p. v. d. 


891—OrIcINAL DrAwIncs 


13 original wash and pencil drawings by Vanderhoof 
and Grahame, of scenes and objects illustrative of the 
American Revolution. 


Some of the titles: Newburgh in 1783, Interior of Washington’s 
Headquarters, Headquarters of Gen. Knox, Hasbrouke House 
in Newburgh, etc. Fine collection. 


892—Paciric Rattway SuRvEY 
Vol. 12 in 2 vols. Profusely illustrated with litho- 
graphic views and colored plates of birds, etc. 2 vols. 
half morocco. Washington, 1860. 


893—Parton (Jas.) | 
Life of Andrew Jackson, 3 vols.; Life of Franklin, 2 
vols.; Butler in New Orleans. Together, 6 vols. 8vo, 
half red morocco. New York, 1861-4. 


894—Pepys’ Diary aNnD CORRESPONDENCE 


With a Life and Notes by Lord Braybroke. 10 vols. 
12mo, cloth (faded). New York, 1884. 


895—PuvutTarcnu’s Lives 


4 vols. ; Coleridge’s Works, 7 vols.; Sterne’s Works, 2 
vols. ; etc. Together, 20 vols. 12mo, half antique calf. 


Ve ps ved, 
896—PoeETRY 
By Will Carleton, Mrs. Browning, and others. 24 
vols. Various sizes and bindings. Vie p. Vt; 
897—Portry 


By various writers. 17 vols. 


898—PoETRY 
Assorted. 11 vols. 


899—Prime GENEALOGY 
Prime (E. D. G.). Notes Genealogical, Biographical 
and Bibliographical of the Prime Family. 8vo, cloth. 
Printed for private use. New York, 1888. 


900—Prime, W. C. 


Coins, Medals and Seals, Ancient and Modern. Pro- 
fusely ilustrated. Square 8vo, cloth. 
New York, 1861. 


Rare. 


901—Pytxr (Howarp) 
Twilight Land; Men of Iron; The Wonder Clock; The 
Lady of Shalott. All illustrated by Howard Pyle. 4 
vols. 8vo, original cloth and half morocco. 


New York, v. y. 
All first editions. 


902—QUEENS OF SOCIETY ae 
Wits and Beaux of Society, Greeville’s Journal, Henry 
IV (James), etc. Together, 8 vols. 8vo, cloth and 
half calf. v. p. v. d. 


903—QvUEEN’s Prime Ministers’ Series (THE) | 


Portraits. 14 vols. (some duplicates), 12mo, cloth. 
New York, v. y. 


904—Rasetais (FRANCIs) 
Works of Rabelais, translated by Urquhart & Mot- 
teux. Frontis. 2 vols. 12mo, blue polished calf (some- 
what rubed). London, Bohn, 1863. 


Bohn’s extra volumes. Scarce. 


905—Re i (Mayne) : 
Novels by Mayne Reid. Illustrated. 12 vols. 12mo, — 
half red morocco. Boston, v. d. 


906—Ruoptes (J. F.) 
History of the United States, vols. 1, 2, 3, only; 
Curtis’ Constitutional History of the United States, 
vol. 1 only; Curtis’ Origin of the Constitution, 2 vols. 
Together, 6 vols. 8vo, cloth and half calf. 
New York, v. y. 


907—Riptey (R. S.) 
The War with Mexico. 2 vols. 8vo, half calf. 
New York, 1849. 


908—Scuoo.u Books 
36 vols. 


909—Scuoor Books 
39 vols. 


‘Gey 


910—Scuoou Booxs 
Atlases, etc. 25 vols. 


911—Scuoot Booxs 
56 vols. 


912—Scuirvmann (Dr. H.) 


Troy; Thos. Illustrated. 2 vols. 8vo, cloth. © 
New York, 1881-4. 


9138—Scuootcrart (H. R.) 


Historical and Statistical Information Respecting the 
History, Condition and Prospects of the Indian Tribes 
of the United States. Vol. 1 only. Illustrated. 
Quarto, half russia. Philadelphia, 1851. 


914—Scorr (Sir WatLrTeER) 


Waverly Novels. Steel engravings. 50 vols. 12mo, 
half green morocco. Boston, 1860. 


915—SHAKESPEARE (Wo.) 
Works, with Life, etc. Illustrated with many hun- 
dred woodcuts, executed by H. W. Hewett, after de- 
signs by Kenny Meadows, Harvey, and other artists. 
Edited by Gulian V. Verplank. 3 vols. finely bound in 
dark green morocco, gilt edges. New York, 1847. 
First edition. Very fine copy of this desirable edition. 


916—SHakesPEaRE ( Wm.) 
Works of Shakespeare, edited by W. J. Rolfe. 
“Friendly edition.” 20 vols. 12mo, half calf. 
New York, 1884. 


917—SHAKESPEARE CONCORDANCE 
By Clarke; Moliere’s Works, 3 vols.; Massinger’s 
Plays, 3 vols.; ete. Together, 9 vols. Various sizes 
and bindings. Vip. Vv. d. 


918—SHAKESPEARE’s Works RG 
6 vols.; Eliot’s Works, 6 vols.; Arabian Nights, 2 vols. ; 
etc. ‘Together, 18 vols. 12mo and 8vo, cloth and half 
calf: A ea (2 eis 2 


919—Simms (W. G.) 
Mellichampe, a Legend of the Santee, 2 vols.; The 
Partisan, a Tale of the Revolution (first edition), 2 


vols. Together, 4 vols. 12mo, cloth. 
New York, 1835-53. 


920—Smi.Lres’ BiocraPpHicaL Works 


8 vols.; Addison’s Works, 2 vols., etc. ‘Together, 17 
vols. 12mo and 8vo, cloth and half calf. v. p. v. d. 


921—Smirn (Cuas. H.) 
Selections of the Ancient Costume of Great Becue 
and Ireland, from the Seventh to Sixteenth Century. 
With 60 magnificent hand-colored plates. Small folio, 
russia, binding broken. Printed by W. Bulmer & Co., 
Shakespeare Press, for Colnaghi & Co. 
London, 1814. 


Text and plates in immaculate condition. 


922—Sparks (JARED) 


Library of American Biography. First and second 
series. Portraits. 25 vols. 16mo, cloth and half calf. 
New York and Boston, v. y. 


923—SPortTING 
Tiger Shooting in India (Rice); Carolina Sports 
(Elliot) ; Seasons with the Sea Horse (Lamont) ; etc. 
Illustrated. Together, 5 vols. 80, cloth and half 
morocco. Verde nvr ce 


924—S portTINne 
Wild Sports in the South (Whitehead) ; Sporting Life 
(Lennox) ; Sporting Pilgrimage (Whitney) ; etc. To- 
gether, 12 vols. 12mo and 8vo, cloth and half morocco. 
| Ven pave, d. 


925—Staniey (H. M.) 


The Congo; Through the Dark Continent, Comassie 
& Magdala. Together 5 vols. Illustrated. 8vo, half 
calf and cloth. New York, v. d. 


926—STEPHENS (J. L.) 


-'Travels in Yucatan, 2 vols.; Travels in Central Amer- — 
ica, 2 vols. Illustrated. ‘Together, 4 vols. 8vo, half 
calf. | New York, 1856. 


927—STEPHEN’s MADAME DE STAEL 


2 vols.; Cross’ Life of Eliot, 3 vols.; Memoir of Syd- 
ney Smith, 2 vols.; etc. Together, 27 vols. Various 
sizes and bindings. v. p. v. d. 


928—-STrraTForRD GALLERY 


45 fine steel plates from designs by eminent hands. 
Impl. 8vo, red morocco, gilt edges. 
New York, 1859. 


929—SrrickLanp (AcNEs) 


Lives of the Queens of Scotland. 8 vols. 12mo, half 
calf. New York, 1855. 


930—Svuer (Evcrne) 


The Wandering Jew. Profusely illustrated. 3 vols. 
8vo, half morocco. London, 1844. 


931—Symonps (J. A.) a 
The Greek Poets, 2 vols.; Seneca’s Moral Essays, 
Gladstone’s Time and Place of Homer. Together, 4 
vols, 12mo, cloth. New York, 1876-80. 


932—SymMonps’ Se AND STUDIES IN SOUTHERN 
EUROPE 
2 vols. ; ; Stephen Olin’s Works, 6 vols., ete. 13 vols. 
12mo and 8vo, cloth and half calf. 
New York, v. y. 


933—Tay tor (Bayarp) 


Works of Travel, 8 vols. ; Huc’s ‘Chines Taine’s Italy ; 
Mackenzie’s Spain; etc. ‘Together, 25 vols. Various 
sizes and bindings. v. p. v. d. 


934—TuHackeray (W. M.) 


Works of Travel, 8 vols.; Hue’s China; Taine’s Italy; 
many of them published in advance of the London” 
editions. 17 vols. 12mo and 8vo, cloth and half calf. 

New York, v. d. 


935—TitpeEn (S. J.) 3 
Public Writings and Speeches, 2 vols.; Bigelow’s Life 
of Tilden, 2 vols. Together, 4 vols, cloth and half 
morocco. New York, 1885-95. 


936—TRaAvEL 
Voyage of the Challenger (Thaneene 2 vols.; Perry’s 
Expedition to Japan; Sub-Tropical Rambles (Pike) ; 
etc. Illustrated. 12 vols. 8vo. Various bindings. 
v. p. v. d. 


937—Tyter (W. S.) 
History of Amherst College During Its First Half 
Century, 1821-71. Illustrated. 8vo, half morocco. 
. Springfield, 1873. 


938—Virernia [LLustRATED (Porte Crayon) 
South and West (Warner) ; Residence on a Georgia 
Plantation (Kemble) ; History of St. Augustine (Fair- 
banks), etc. Illustrated. ‘Together, 6 vols. 12mo and 
8vo, cloth and half calf. Ve DenVeGs 


939—Voyracr or THE Potomac (REyYNOLDs) 
Sandwich Islands (Haole); The Island World (Chee- 
ver) ; Diplomatic Correspondence, etc. ‘Together, 10 
vols. 12mo and 8vo, cloth and half calf. Dig een res tt 


940—Watutiace (Gen. Lew) 
Ben Hur. Profusely illustrated from drawings by W. 


M. Johnson. 2 vols. yellow silk, gilt tops. 
New York, 1892. 


The Garfield edition. Fine copy in cloth case. 


941—WasuinetTon (GEORGE) 
The writings of Washington. With a Life, Notes, etc., 


by Jared Sparks. 13 vols. (lacks vol. xiii). 
New York, 1847. 


942—Warson (W. C.) 
Military and Civil History of the County of Essex, 
New York. Illustrated. 8vo, cloth. 
Albany, 1869. 


943—WepssTeER (Danie) 
Works, including his Private Correspondence, ete. 


- Portraits. 9 vols. 8vo, half morocco. 
Boston, 1857-60. 


944—West, THE 
The Northwest Coast (Swan); The Prairie Traveler 
(Marcy); Wyoming (Peck); Prairie Land (Farn- 
ham). Together, 4 vols, 16mo and 12mo, cloth. 
New York, v. y. 


945—Witson (J. G.) 


Poets and Poetry of Scotland, 2 vols.; Hale’s Distin- 
guished Women, etc. ‘Together, 4 vols. 8vo, cloth and 
half calf. | v. p. v. d. 


946—WorpswortH (Wm.) 


Selections from the Sonnets. Beautifully illustrated 
with numerous drawings by Alfred Parsons. Small 
quarto, green morocco, gilt edges. New York, 1891. 


9477—Yute (Carr. Henry) 
Narrative of the Mission to the Court of Ava, in 1855. 


Lithographic plates and maps. Quarto, half morocco. 
London, 1858. — 


Rare. 


948—MiscELLANEOUS Books oF TRAVEL 
10 vols. 


949—MiscELLANEOUS Booxs on Home Topics 
43 vols. 


950—MiscELLANEOUS NOVELS 


41 novels of the Sixties bound in 12 vols. Mrs. 
Marsh’s Novels, 3 vols. ‘Together, 15 vols. 8vo, cloth 
and half morocco. New York. 


951—MiscELLANEOUs Booxs 
8 vols. 


952—MiscELLANEOUs Books 
10 vols. 


953—MiIscELLANEOUS Books 
11 vols. 


954—MiscELLANEOUS Books 
17 vols. 


955—MiIscEeELLANEOvs Books 
19 vols. 


956—MisceELLANEOvs Books 
20 vols. — 


957—MiscELLANEOUS Books 
22 vols. 


958—MiscEeELLANEOUS Books 
22 vols. 


959—MiscreLLANEous Booxs 
22 vols. 


960—MiscEeELLANEOUsS Books 
94 vols. 


961—MisceLLANrous Books 
24 vols. 


962—MiscreLLANEous Books 
26 vols. 


963—MisceLLANEOUs Books 
$1 vols. 


964—MiscELLANEOUS Books 
33 vols. 


965—MisceELLANEOUS Booxs 
34 vols. 


966—MiscELLANEOUS Booxs 
34 vols. 


col 


967—MisceLLaneous Books 
42 vols. . 


ORS oMiscer nano: Books 
48 vols. 


969-—MisceLLANEOUS Books 
60 vols. 


970—MisceLLANEOus Booxs 
43 vols. Mostly 16mo. 


97 1—Reticiovus Works 
8 vols. 


972—Reuicious Works 
13 vols. 


973—Reticious Works 
13 vols. 


974—Reticious Works 
12 vols. 


975—Reticious Works 
12 vols. 


976—Reticious Works 
29 vols. 


977—Re.icious Works 
28 vols. 


978—Retuicious Works 
26 vols. 


979—Reticious Works 
27 vols. 


980—Retnicious Works 
33 vols. 


981—Reticious Works 
35 vols. half calf. 


982—Opp VoLUMES 
48 vols. 


Tuomas E. Kirsy, 
Auctioneer. 


AMERICAN ART ASSOCIATION, 
Managers. 


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